This past week my website got deleted during a server change and I subsequently lost some pictures and other things there. Someone had asked about the missing pictures in a previous V-joint thread where I explained how I make the joint. I lost some of those pictures, but have imbedded some new ones and a couple of small updates.
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Materials (assuming for a classical, 650mm scale):
Spanish Cedar or Mahogany for the neckshaft: 420cm long X 68mm wide X 30mm thick
Spanish Cedar or Mahogany for the head: 20cm long X 90cm wide X 18mm thick.
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Tools:
Stanley #4 Smoothing Plane
Sliding T Bevel
38mm Chisel
19mm Chisel.
Dozuki Razor Saw
Japanese Single-Bevel Marking Knife
Small Square
Hot Hide Glue
Glue Pot or Baby Bottle Warmer to heat the HHG
2 Bar Clamps
2 C Clamps
1 Cam Clamp
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Squaring up all the surfaces of the neck shaft is very important in planning the joint. I use a Stanley #4 for this.
You must have a centerline that is accurate on both the front and the back.
The intended dimensions of the V are 45 tall by 36 wide, for a 52mm neck width, you'll want to change these for something less.
All marks are made with a japanese marking knife - ie they're scribed into the wood. Once I decide which is the face of the neck, to accept the fingerboard, I make a mark 2mm from the end of the neck, and 47 mm front the end of the neck. This is the 45 mm length of the V.
At the 47mm mark, I use a small square to mark across the neckshaft. Then along that line I make two marks, on either side of the center line, at 18mm from the center line. These marks are for the width of the V.
Next I clamp a straight edge to correspond with the marks and scribe the V into the wood (the knife is a single bevel).
Once the piece for the head is planed to its near final thickness SANS headplate, you can use it to determine how much angle you can get, and record this with the sliding T-bevel. How much angle is possible is directly related to the thickness of the wood for the neckshaft.
Once I've set an angle on my sliding T-bevel, I use it to scribe a line on both sides of the neck shaft, angling toward the back of the neckshaft. Then on the back of the neckshaft I use a square to scribe a line connecting the ends of the lines on the sides. This establishes the angle, and this should all remain square to keep carving easily.
Next I measure up from the line across the back of the neckshaft, up the center line 45mm and make a mark. then along the across line I make two marks 18mm from the center line, and scribe everything as I did the front.
Now that everything is marked, I've made sure the marks are deep enough to chisel out a bevel against them on the outside only to help as a saw guide.
Here is a picture of the scribed lines, before chiseling out a bevel.
With the Dozuki saw I first make the cut at the sides, establishing the angle - careful to not cut beyond the scribed V, and sure to no obliterate the original scribed line. I used to use a fret slotting saw for this, but have switched to the Dozuki saw which makes for a far better cut.
For the V cuts, when looking down at the endgrain of the neckshaft you'll note that you need to cut at an angle (ie. not 90 degrees) in order to connect the scribed lines of the front and back of the V.
Again, I'm careful to not obliterate the line, because I will later carve right down to them with the chisels.
Once the rough V is cut out, I use a wide chisel that is freshly sharpened to true up the V. If the original planning and marking of the V was good, and I didn't kill the lines, it will be accurate enough to not really need to be touched while fitting the head.
For the head, it may be useful to use an entirely different piece of Cedar of Mahogany from the neckshaft. The natural color and grain variations from one piece to another will show off the joint better. For me its become kind of a trademark to veneer the back of the head with offcuts of the back (or something similar to bindings), and this shows off the joint nicely.
The head is already planed to the desired thickness, minus the front headplate, which in my case is 18mm.
Once the center line is scribed across the head, and a line square to it across the head at the bottom - I mark the dimensions of the V and scribe it. Then cut it out with the Dozuki saw. This can be done on the bansaw as well, though it will require more work with the chisels.
Next the head is cleaned up with chisels and checked at the neckshaft for a good fit, and worked continually until you can see no light through the mating surfaces. There should also be no twist in the head. it needs to be a good fit, or it will be quite obvious. This takes time and concentration.
Once everything is fitted, I prepare some hide glue. Hide glue is important - because if the guitar it dropped 5 years from now and the V-separates (which it will do, instead of a neck fracture - since its glued end grain to end grain), you won't need to clean the glue out of the end grain. You can simply add more hide glued and clamp the thing shut.
While the hide glue is heating, I clamp a block to the face of the neckshaft that has angle on one side of it. This enables me to use a bar clamp to clamp the joint tightly. I clamp from the angled portion of the block to the top of the head.
Sometimes it is helpful to clamp from side to side too, as shown.
I wipe the surfaces clean, spread the glue on and clamp it up. Where the neck connects to the head, the head should be slightly proud of the neck. This corner that is created will be chiseled off to be where the nut seats.
Once the glue is cleaned up, I find its best to call a pretty girl and hit happy hour for margaritas. This will get your mind off of straight lines and back to curves almost immediately, and reduce strain on your eyes.
jfrench39105.0225115741
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