Your dedication to this instrument is admirable. I build and repair classical guitars too but this repair/rebuild would definitely challenge my patience and skills. There are many luxuries you have when building new that you simply do not have with this type of effort. Enjoying the journey very much and cheering you on from Michigan.
Great job. Finally solid steps forward (i am no expert) a) the upper part binding and purfling look awesome and make sense. I hesitate using the original but appreciate the value of the original b) using the same kerfing is a must c) the body reinforcement explanation was something I needed to learn d) i am still assimilating what is happening on the bottom... Good luck... i waited for a quiet time to really enjoy your video.
This project would have been finished by now had you simply disassembled the entire instrument and rebuilt each component from the ground up. Each component could have been stabilized and re-assembled; the neck, fingerboard, top back and sides. Without question, the binding should be entirely remade. When you have that many layer of old wood and ancient glue you're asking for nothing but trouble trying to repair it. Martin Guitar has instruments this old in their factory showcase and many have been purchased and restored. All I can say is that your piecemeal whack-a-mole approach is only going to create more problems in the future. I hope you don't expect somebody to actively play this relic. It deserves to be locked up in its own glass case somewhere.
Typical internet expert. Of course this is probably the hardest way to do the restoration, and one that will keep having incoming issues. But clearly, dissasembling the guitar and rebuilding would mean using a lot of new wood, which defeats the "true restoration" part of it, which minimizes new materials. Sometimes, you want to do it the hard way because you think the work deserves it, and you learn a lot from it. Persistance is key, and failure is a lesson.
@@ricardofunes9407 OK. As a working musician who is interested in instrument reliability and durability I see things through a different lens. As a budding Luthier who wants a learning project you have selected the right project and apparently you have a good advisor. If you plan to service working musicians you will have a need to turn out work quickly and at reasonable cost. Time is money no matter if you are a Luthier or musician. I was simply as I said, looking at it from a real world perspective. Live long and prosper. 🖖
@@enrique663 I will provide an educated opinion on this subject. The restorer surely has some freedoms to exercise and decides the best viable option for the task; though there is a code a restorer in his own field should follow, but this code is also somewhat flexible and sticking with it doesn't mean there are no alternatives. One part of the equation is councelling and talking with the customer, informing customer and also educating them about their options, financial costs, resale value etc etc. about the most practical and fast and economical options and less practical, slower and more expensive and the customer should have some freedom to chose what to do, given that their choice is also informed. I believe in this partucular case the restorer had chosen the hardest avenue and that is, minimalist in the sense of interference with the original materials and construction, but maximalist in terms of to what extents he was willing to go using this aproach. And that is regarded as the genuine restoration. - but it also depends on whether is the guitar intended to be played or put on the shelf, displayed for viewing. Is the guitar his own, or is it commision by customer (not sure if it was mentioned). In my opinion, he could have made this whole process much easier on number of steps during the whole project. Certain things he was too concerned about I would have not been, But he is doing excellent job, there's no doubt about that! so if in doubt, customer may have a right to decide whether to make a new binding from scratch or use the old one and camouflage the broken parts somehow. Possible, but not always easy to do so the result wouldn't attract attention. In restoration camouflage is OK, as long as the main piece as a whole is not compromised and the camouflage serves the purpose to allow for the damages simply blend in.
The removal of the binding at 11:50 was a bit of an overkill. the problem you were dealing with could have been easily fixed with clamping flat from both sodes, inside and outside, I've done nearly identical crack repair, and the top I worked on had at least dozen cracks. if you properly seal it up and flatten it and give it some time to cure, then it shouldn't be problem attaching it to the binding. I believe you are such a meticulous and pedantic person, that you may be unnecessarily making new problems for yourself. Restoring is not entirely technical matter. it is also art and art has some amount of experimentation and improvisation. Very few restorers would have gone to those lengths as you did. It wasn't necessary, tbh.
Not the point. Learning and pride and personal growth. I had a $20 dollar guitar like this, I set it on fire. Because I could not afford paying to have it fixed and the Top was not of any quality even brand new. The sentimental value was there. This Top looks worth fixing. I think this will sound great again... just not for flamenco
Do not give up, what you achieved yet is great as well as great are your comitment and skills.
Wow, thank you. Yes, it has been a long road. Let´s see how it all ends.
Continue with all your amazing job i cant wait to see the next video 🥹
Thanks! Great to see you are around!
Trabajo paciente y minucioso que avanza lentamente pero avanza. Seguiremos atentos. Saludos.
Gracias Carlos. Seguiremos informando.
Your dedication to this instrument is admirable. I build and repair classical guitars too but this repair/rebuild would definitely challenge my patience and skills. There are many luxuries you have when building new that you simply do not have with this type of effort. Enjoying the journey very much and cheering you on from Michigan.
Now I feel understood at last. Thanks a lot!
Man, this is good material!
Glad you find this little channel! I hope you enjoyed the series, one more to go! Thanks for your comments.
Great job.
Finally solid steps forward (i am no expert)
a) the upper part binding and purfling look awesome and make sense. I hesitate using the original but appreciate the value of the original
b) using the same kerfing is a must
c) the body reinforcement explanation was something I needed to learn
d) i am still assimilating what is happening on the bottom...
Good luck... i waited for a quiet time to really enjoy your video.
Really looking forward to seeing how this will sound in the end!
Me too!
Good luck.
Thanks. I really need it.
This project would have been finished by now had you simply disassembled the entire instrument and rebuilt each component from the ground up. Each component could have been stabilized and re-assembled; the neck, fingerboard, top back and sides. Without question, the binding should be entirely remade. When you have that many layer of old wood and ancient glue you're asking for nothing but trouble trying to repair it. Martin Guitar has instruments this old in their factory showcase and many have been purchased and restored. All I can say is that your piecemeal whack-a-mole approach is only going to create more problems in the future. I hope you don't expect somebody to actively play this relic. It deserves to be locked up in its own glass case somewhere.
Typical internet expert.
Of course this is probably the hardest way to do the restoration, and one that will keep having incoming issues. But clearly, dissasembling the guitar and rebuilding would mean using a lot of new wood, which defeats the "true restoration" part of it, which minimizes new materials. Sometimes, you want to do it the hard way because you think the work deserves it, and you learn a lot from it. Persistance is key, and failure is a lesson.
@GruttePierFriesland So as a Luthier would you replace the bindings and purfling?
I would not replace the kerfing. BTW I am not a Luthier. And he is in his right to keep all the original wood. I am asking an opinion.
@@ricardofunes9407 OK. As a working musician who is interested in instrument reliability and durability I see things through a different lens. As a budding Luthier who wants a learning project you have selected the right project and apparently you have a good advisor. If you plan to service working musicians you will have a need to turn out work quickly and at reasonable cost. Time is money no matter if you are a Luthier or musician. I was simply as I said, looking at it from a real world perspective. Live long and prosper. 🖖
@@enrique663 I will provide an educated opinion on this subject. The restorer surely has some freedoms to exercise and decides the best viable option for the task; though there is a code a restorer in his own field should follow, but this code is also somewhat flexible and sticking with it doesn't mean there are no alternatives. One part of the equation is councelling and talking with the customer, informing customer and also educating them about their options, financial costs, resale value etc etc. about the most practical and fast and economical options and less practical, slower and more expensive and the customer should have some freedom to chose what to do, given that their choice is also informed. I believe in this partucular case the restorer had chosen the hardest avenue and that is, minimalist in the sense of interference with the original materials and construction, but maximalist in terms of to what extents he was willing to go using this aproach. And that is regarded as the genuine restoration. - but it also depends on whether is the guitar intended to be played or put on the shelf, displayed for viewing. Is the guitar his own, or is it commision by customer (not sure if it was mentioned). In my opinion, he could have made this whole process much easier on number of steps during the whole project. Certain things he was too concerned about I would have not been, But he is doing excellent job, there's no doubt about that!
so if in doubt, customer may have a right to decide whether to make a new binding from scratch or use the old one and camouflage the broken parts somehow. Possible, but not always easy to do so the result wouldn't attract attention. In restoration camouflage is OK, as long as the main piece as a whole is not compromised and the camouflage serves the purpose to allow for the damages simply blend in.
The removal of the binding at 11:50 was a bit of an overkill. the problem you were dealing with could have been easily fixed with clamping flat from both sodes, inside and outside, I've done nearly identical crack repair, and the top I worked on had at least dozen cracks. if you properly seal it up and flatten it and give it some time to cure, then it shouldn't be problem attaching it to the binding. I believe you are such a meticulous and pedantic person, that you may be unnecessarily making new problems for yourself. Restoring is not entirely technical matter. it is also art and art has some amount of experimentation and improvisation. Very few restorers would have gone to those lengths as you did. It wasn't necessary, tbh.
"you made be unnecessarily making new problems for yourself" Totally true, man! My wife says that all day long :)
doesn't seem worth fixing
Not the point. Learning and pride and personal growth.
I had a $20 dollar guitar like this, I set it on fire. Because I could not afford paying to have it fixed and the Top was not of any quality even brand new. The sentimental value was there.
This Top looks worth fixing.
I think this will sound great again... just not for flamenco
better of buying a god guitar@@enrique663