Klein & Kauffman 426 - Build Thread

[nootis]

Originally Posted by TomB'sox

With every new post I become more and more confused and equally more and more intrigued.

Me too! Lol.

Originally Posted by cigarfan

For me that last picture conjures an image of an alien craft getting ready to launch.

That is uncanny Dennis, and I'm quite impressed that you were able to find this image!

[nootis]

Steve has been super kind and informative about all of these pictures that we are seeing, and while he didn't say it, he seemed to be honored that I asked him if I could do a build thread here on the AGF. AGF hasn't been mentioned since, but if you see him at the upcoming Artisan show, tell him you've been watching and try out one of his guitars! With that said, I want to publicly thank him for being as open and informative to me as he has been so that I can share his wisdom and craft with all of you. Lurkers and all.

Onward to the back. We have all seen this method of joining top and bottom plates, however Steve informed me that this is a variation of an ancient technique called the Spanish Windlass. He says it works better than any other "modern" method and he loves doing it this way, because it makes him feel a kinship with centuries of craftspeople that managed to build without technology.



The back is scraped while being held into a radius position with this vacuum jig that holds the back in place. An example of old school method using modern technology.



The completed back. As you can see, it has a radial fan system to support a resonant/responsive back as opposed to a reflective one. The transverse brace here too has a carbon fiber center laminate. Finally, the two center seams holding the 3 piece back together is cross grained mahogany...





This is a closeup of the buttress. It is tied into the "Wall" as Steve pointed out. Much like how the wishbone was made that will receive the top, the Wall is constructed with a sandwich layer with carbon fiber outer layers. The curvature of the Wall completes the circular shape of the resonant area of the back. Steve explains that a circular shape is the most efficient vibrating plate, like a speaker cone or a drum head, and this fact is the primary inspiration for the Klein body shape.



Lastly, here is the slot in the neck block again. This is where the end of the buttress will attach as the back is glued in place.

[cigarfan]

Originally Posted by nootis

That is uncanny Dennis, and I'm quite impressed that you were able to find this image!

Credit where credit is due ... Photoshop AI gave a huge assist with the image.

[TomB'sox]

I know I have never seen a back connected to the neck block like that ever. Now that you mentioned the curved drum shape, I totally see that in the body shape.

[that_darn_cat]

Almost a shame the insides of the guitar will mostly be hidden when it's done.

[Nemoman]

Yowzah--I don't know how it all works, Dan, but it all looks pretty darn cool!

[nootis]

Originally Posted by cigarfan

Credit where credit is due ... Photoshop AI gave a huge assist with the image.

Regardless, I'm still impressed.

Originally Posted by Nemoman

Yowzah--I don't know how it all works, Dan, but it all looks pretty darn cool!

Me thinks so too. Thanks Kevin!

Originally Posted by that_darn_cat

Almost a shame the insides of the guitar will mostly be hidden when it's done.

At least we still have the access panel, but alas, it must be closed...

So, without a whimper, the box is closed, and now it's time for the binding. Steve explains that it's satisfying to close the box as it's always a joy for him to start the binding process. We ended going with pre-bent Rosewood bindings with purflings of hand-cut Holly that sandwiches dyed black wood (of unknown species for you wood geeks) for a W/B/W classy look.

Channels are routed prior to gluing and the guitar is placed on the workboard...



All those little miters is what was on the menu for Steve for a while, but he pulled through. At least he doesn't have Rye Bear's headstock to contend with! Here it is all mitered and on the workboard, er, working! Insuring tight, equal force all the way around...



Steve explains that things go fairly quickly from here as he begins on the neck. More to come soon.

[nootis]

Steve gives me the list of tools he uses for the neck. It's all done with files, chisels, a gouge, a plane and of course his trusty scraper.

He first begins by roughing out the peghead flare...



The flare with the overlap is shown provisionally complete with final refinement later.



He starts the heel by shaping small portions at a time. He tells me that rosewood doesn't lend itself to routing, so hand tools are the surest way. He likes rosewood because it's strong and stable and encourages the string energy towards the box where it can lend its energy to create music. Here he is using a gouge to get started...





Once complete, Steve has created the perfect "fin" to be centered precisely on the upper end graft.



Final neck shaping takes place and Steve's cherished plane makes another appearance...



Moving along to the peghead, Steve tells me that he has tried cutting his own shell blanks from shells before, but concedes that is a job for others!

In this first shot, he has sawn and glued three pieces together. The bottom portion is gold Mother-of-Pearl and the teardrop is gold heart abalone...



The shape is carefully routed...



Lastly, it gets glued in place...



Except for frets and some tidy-up work, the woodwork is complete.

[nootis]

After receiving those last pictures, I had just read in another post where someone had a question about neck angles. https://www.acousticguitarforum.com/...d.php?t=683908

So I asked Steve this question: I've always noticed that the break angel at the nut on your guitars is more at an angle than anything I've seen (other than a lute). What is the reasoning behind this?

His answer was worth sharing.... "Back in the late 60’s when Steve Klein was designing his new guitar concept he wanted to incorporate a zero fret, having noticed that fretted notes had a different tonal quality than the open strings. He eliminated the usual bone nut/string spacer in favor of an inlaid piece that would lay flush and serve as spacer. Thinking he might need more down pressure there, he increased the peghead angle. As it turns out, that wasn’t really needed; I’ve used the same method with a more typical angle and it works perfectly fine. But the sort of lute like angle was (and is!) much admired and became a kind of trademark. When people ask now I generally say it’s a nod to the lute."

[cigarfan]

So cool to watch. Pics are excellent and the explanations put one right in the drivers seat. Thanks for sharing this Dan.

[BlueBowman]

Originally Posted by TomB'sox

With every new post I become more and more confused and equally more and more intrigued.

Haha, me too! And I must say, what incredible craftsmanship.

[nootis]

As a lot of people are headed their way to Artisan for the weekend, Steve not only has some spec guitars he's bringing with him that he managed to complete, but he also has my guitar ready for the finish room to apply the nitrocellulose lacquer finish. As you all know, this process takes time and shouldn't be rushed. Steve explains that he can't resist lingering over the guitar at this stage, for the guitar is so sensual and so present in this raw state.
However, alas, he must mask and prepare for the impending finish to be applied. Here are those "nude" photos.

First up is the bridge. It is now carved, fitted to the dome of the top and waxed. As you can see, it is completely original, and like most every part on this guitar, it too has been designed for function. It doesn't hurt that it's beautiful too...



Peeking through the sound hole and rosette, you can see the label. The label is made with two pieces of rice paper pressed over leaves that have been gathered by Steve Klein and Steve Kauffman on their travels together. I think this is a really nice touch and a very eloquent reminder of the bond that the two share. I am honored that it is being shared with me...



Here is the upper bout with the soundhole already masked...



Steve says that this as perfect as a master grade Alpine top could be...





The beautiful Brazilian back isn't too shabby either. I am also thrilled by the narrow wedge detail...



The last two photos show details of the heel and bottom graft as well as the showing off the Brazilian binding and the all wood white/black/white purfling. Steve's opinion is that plastics or composites can't compare for a sense of history and craft. I tend to agree. Not to mention, look at all those tiny miters just exquisitely executed...





So, the next update will most likely be a finished guitar. For those of you headed to Artisan, please make it a point to check out what Steve has to offer. If anything, you'll meet a heck of a nice guy.

[TomB'sox]

I have been away for a bit, just catching up, this looks amazing amazing!

[cigarfan]

Steve was a busy guy at Artisan. Every time I went by he was deep into conversation with someone. Never did get a chance to speak with him.