I've started my nylon string crossover guitar

[John Parchem]

That is a nice looking head stock template. I never tried Robbie's method with the drill stock. I did use a standard 1/4" end mill once using it's 1/4" shank as the template follower. Sort of like Robbie's method but the end mill already had cutting edges.

[Herman]

Good to see you building again, Kevin. Quiet around the house now? You make an excellent template. Just by hand?
Herman

[Kevin in California]

Yes Herman, very quiet there now. :)
I did make the template by hand, then I did a practice run routing it out with the drill press drill blank make into a cutter. I will show this when I actually the real headstock for Dave. I had a 1/4" drill blank that I used, but I think it might be a little too big, taking too big a bite when cutting. A smaller diameter bit may be better for a smoother, finer cut so I've ordered some 3/16" stock.
Here is my practice attempt. It made a good copy out of the poplar piece.

Kevin

[Herman]

Beginning to look like a guitarfactory. Scary precise.

[Kevin in California]

I have the braces shaped on the back, the rims top and back are sanded as needed. I think I finally have my mind wrapped around the geometry for the neck angle, bridge height, etc. It seems I can create some forward tilt on my neck by shimming the neck block between the block and the mold to cause it to lean forward. Then when I bolt on my neck, I will place it 90 degrees to the side, and I should have the forward tilt. I just have to calculate how much I want there.
I've decided to put maple bindings on this guitar with .010" black side purflings, so I glued up some maple stock last night that I'll cut up and run through the drum sander so I'll have the bindings ready. I have some nice looking claro walnut I've wanted to use for a bridge so I may do that and some burly walnut for the headstock veneer...maybe. The fretboard is madagascar rosewood, but has coloring similar to the walnut, and I also have some madie rosewood bridge stock that is similarly colored that I may also use. End wedge is going to be maple matching the bindings. Not sure yet about the rosette, but most likely a wood ring with BWB purfling inside and out. BWB purfling around the top and back, keeping this scheme pretty simple.

Still trying to decide whether to use spanish cedar or mahogany for the neck. I also have Sapele but it may be too heavy for a small body with nylon strings, but I've seen some classical guitars are being made using sapele necks, so what does that tell me?
More pictures after tonight.

Kevin

[ken cierp]

Tilting the neck forward (from what I've observed) is one of those repeated "conventional wisdom" design understandings that will complicate the build and for that matter cause problems down the road. The neck still needs to be tilted slightly back to compensate for the tension of the string and the inevitable folding of the neck over time. To me its is far better to create the string relief ( which this notion is all about) by sloping the finger board slightly making it thicker at the nut than it is at the extension. It is my belief that, while I am sure forward bow has been observed on the antique instruments (such as the 37 Hausser) it is not based on design but rather dimensions picked off the instrument decades after it was constructed --- the net results of aging and of course string tension and humidity fluctuations. $.02

[Kevin in California]

I appreciate your insight Ken as I'm trying to figure this all out. My conventional wisdom tells me "set it up like a steel string", but then I read all the stuff about needing the string clearance and maintaining a lower bridge, etc, etc, etc. I do want this guitar to turn out so I can play it, and I am quite sure I'll build more of them, so I want to get it right, what ever road it takes to get there.
If I set the neck with a slight back set, this will cause the bridge to be higher and I am putting a dome on the lower bout, 30 ft radius. I suppose I could plane the fretboard down toward the soundhole to achieve the necessary relief.

Perhaps I should just make this one with a flat neck, adjust the slope on the fretboard as needed for relief, and maintain a relatively low bridge, within normal classical guitar specs?