Building A Selmer Maccaferri Guitar by Michael Collins
Posted: Sat Aug 17, 2013 1:36 am
I've only had this for a day, but I have read through it all. I will read it again, many times.
Collins makes a good case for laminating not just the sides, but the back too. His whole approach is about building a light guitar. I was amazed at how flat his result was after using so much water based Titebond for laminating thin veneers. He also laminates the solid linings, then rounds off the bottoms with a router. Myself, I would just as soon rout first, then bend with an iron or bending machine, but Collins avoids bending irons for the most part. The linings illustrated in the book look good. They are bass wood, true to the originals, he says.
For those who might want to try this idea without building the laminating forms and cauls, much less take the risk of rippling and curling, he sells a complete back, side, and lining set for a very reasonable price. If you already own a Mega Mold, you would be set to give it a try with minimal risk and maximal adventure. I say adventure because the instruments, according to both Collins and the recordings I found of them, can sound very different - percussive and cutting. But to my surprise, I also found some of the same percussive sounding ones, played differently, that sounded much sweeter. I would be interested to know what phosphor bronze strings would sound like instead of the typical silver plated copper wound. I will soon see and hear for myself, as I have ordered the back, side, and linings set. Decided the best way to proceed with my 17.5 inch D-mouth project is to start with building the original design first.
He offers two methods for folding the top (pliage). Both are executed before the top is joined. This seems a bit iffy to me but not at all to him. I can see how the heat lamp box he gives a plan for could easily be modified to accommodate a joined top. The bending pipe method maybe not, but there is a version on the internet that clamps a square steel tube across the joined top at the folding point on a solera, places a block under the tail end, then inserts a propane torch into the tube that also bends a joined top that seems to work.
For most of the operations presented in the book, Collins offers several alternative methods of execution, many of them using very simple hand tools. Clearly he loves wood and has worked it with his hands.
Collins describes in detail how to construct the original mortise and tenon neck-headstock joint. Also, how to incorporate the original aluminum stiffeners in the neck under the fingerboard - but offers carbon fiber as a plausible substitute. He avoids truss rods. No reason one could not be included, but it would add weight that the traditional instruments avoided. In fact, I don't think he misses one detail of how the original instruments were built, with exception of the few that had resonators. Yet he also includes modern techniques, including the Stew-Mac neck jig and a number of electric pickups, besides the others I have mentioned.
The method he presents for cutting rosette channels and sound hole openings is simple and reliable. It could easily be adapted to any non-circular design.
The book is clearly written in a straightforward style. Collins hides nothing and is very knowledgeable about the history of his chosen instrument, about which he is passionate. Sometimes he makes assertions I don't understand, such as the zero fret enables better intonation, but those are rare and for all I know, correct. The book is fascinating in part because it offers a somewhat different perspective to what is usually found, yet it never seems preposterous.
I can't say it is a "must have" book, yet it is one that I would not want to be without now that I have it. Certainly it is "must have" if you want to build gypsy guitars. It is also a very complete book. Someone who has never made a guitar could conceivably build a Maccaferri following his very specific directions and excellent illustrations, assuming the person also had a set of plans, and probably the laminated back and sides. I also assume that someone is fairly adept with wood working. Thus the range of people who might find this book a worthwhile read is quite broad.
Collins makes a good case for laminating not just the sides, but the back too. His whole approach is about building a light guitar. I was amazed at how flat his result was after using so much water based Titebond for laminating thin veneers. He also laminates the solid linings, then rounds off the bottoms with a router. Myself, I would just as soon rout first, then bend with an iron or bending machine, but Collins avoids bending irons for the most part. The linings illustrated in the book look good. They are bass wood, true to the originals, he says.
For those who might want to try this idea without building the laminating forms and cauls, much less take the risk of rippling and curling, he sells a complete back, side, and lining set for a very reasonable price. If you already own a Mega Mold, you would be set to give it a try with minimal risk and maximal adventure. I say adventure because the instruments, according to both Collins and the recordings I found of them, can sound very different - percussive and cutting. But to my surprise, I also found some of the same percussive sounding ones, played differently, that sounded much sweeter. I would be interested to know what phosphor bronze strings would sound like instead of the typical silver plated copper wound. I will soon see and hear for myself, as I have ordered the back, side, and linings set. Decided the best way to proceed with my 17.5 inch D-mouth project is to start with building the original design first.
He offers two methods for folding the top (pliage). Both are executed before the top is joined. This seems a bit iffy to me but not at all to him. I can see how the heat lamp box he gives a plan for could easily be modified to accommodate a joined top. The bending pipe method maybe not, but there is a version on the internet that clamps a square steel tube across the joined top at the folding point on a solera, places a block under the tail end, then inserts a propane torch into the tube that also bends a joined top that seems to work.
For most of the operations presented in the book, Collins offers several alternative methods of execution, many of them using very simple hand tools. Clearly he loves wood and has worked it with his hands.
Collins describes in detail how to construct the original mortise and tenon neck-headstock joint. Also, how to incorporate the original aluminum stiffeners in the neck under the fingerboard - but offers carbon fiber as a plausible substitute. He avoids truss rods. No reason one could not be included, but it would add weight that the traditional instruments avoided. In fact, I don't think he misses one detail of how the original instruments were built, with exception of the few that had resonators. Yet he also includes modern techniques, including the Stew-Mac neck jig and a number of electric pickups, besides the others I have mentioned.
The method he presents for cutting rosette channels and sound hole openings is simple and reliable. It could easily be adapted to any non-circular design.
The book is clearly written in a straightforward style. Collins hides nothing and is very knowledgeable about the history of his chosen instrument, about which he is passionate. Sometimes he makes assertions I don't understand, such as the zero fret enables better intonation, but those are rare and for all I know, correct. The book is fascinating in part because it offers a somewhat different perspective to what is usually found, yet it never seems preposterous.
I can't say it is a "must have" book, yet it is one that I would not want to be without now that I have it. Certainly it is "must have" if you want to build gypsy guitars. It is also a very complete book. Someone who has never made a guitar could conceivably build a Maccaferri following his very specific directions and excellent illustrations, assuming the person also had a set of plans, and probably the laminated back and sides. I also assume that someone is fairly adept with wood working. Thus the range of people who might find this book a worthwhile read is quite broad.