00-Slope-shouldered Guitar # 35 108


(click any of the thumbnails for a higher-resolution photo)

This little 00 is featherlight, but it's no lightweight where sound is concerned: the voice is big and robust, reminiscent of some pre-war vintage guitars. I wonder what this one will sound like in 75 years? Red spruce top, mahogany back and sides, ebony fretboard, peghead overlay and pyramid bridge. Tortoise celluloid binding. Bone nut and saddle. Gloss nitro top, satin back and sides. 1-11/16" at nut. I've been playing this one as my personal guitar, but a new model is coming on line. Very minor wear typical of an instrument carefully played for a year. $2,250. Sorry, but it's sold.

Construction Photos

Construction of this red-spruce-topped 00-S begins with the joining of the top and the mahogany back halves with hot hide glue. The sides are thicknessed and bent to shape, and the neck block is fabricated and glued together. The heel and neck blocks are glued to the ribs.

The back is thicknessed and cut to shape, and the center reinforcing web is attached. The kerfed linings are glued in place, as are the side reinforcing strips. A recess for the rosette is cut with a fly cutter, and a rosette is fashioned with accent lines around a Morado insert.

The top is brought to final thickness, the sound hole is cut, and it's cut to shape. The top and back braces are shaped and installed. The braces are shaved as the top is tap tuned for maximum response and resonance. The braces are fitted to the ribs, and notches are cut in the lining to receive them. First the top is glued in place, then the back.

The body is removed from the form and the edges are trimmed flush in preparation for binding. The butt end of the guitar is routed for the end graft, and it's installed. The binding channels are routed, and the bindings are glued into place.

Threaded inserts are installed in the neck heel. The neck is roughly shaped, the truss rod is cut, and the neck is fitted to the body. The fretboard is radiused, the fret slots are cut, and matching recesses are cut in fretboard and neck to receive carbon fiber reinforcing. The fretboard is then cut to the proper width.

The ends of the truss rod and reinforcing slots are filled and the headstock is leveled. The ebony peghead overlay is glued in place. The headstock is shaped using a template-following router bit. A dedicated jig is utilized to drill holes for the tuners.

The peghead slots are further refined with hand tools. The logo is cut from mother of pearl and inlet into the headstock overlay. Position markers are installed on the fretboard, and the frets are inserted. The carbon fiber reinforcing bars are gued into the back of the fretboard. The channels to receive the bars are extended from the neck into the body.

The neck is shaped and the truss rod installed, and then the fretboard is glued to the neck. The bridge is precisely located using a jig designed for that purpose, and when the instrument is sanded to perfection, finishing begins.

The wood is stained,sealed, and the pores are filled before the application of lacquer begins. When the base coats are completed, the instrument is allowed to cure for several days before the level sanding is done and the final coat is applied. Then the instrument will cure for ten to fourteen days before it's buffed out and set up.

When the finish is fully cured, the instrument is wet sanded and buffed on a flannel wheel. The neck is attached, and the bridge is glued in place. Accessories -- tuners, nut, saddle, end pin, pickguard, and strings -- are added, and with a bit of fine tuning, this little cannon is ready to go.

Thanks for watching this project

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