Austin David, Acoustic Guitar (STUDENT 2023)

Student:

Secondary

Name of school or tertiary institution, and name of woodworking teacher (if you have one):

School: Edmund Rice College. Teacher: Mr Andrew Edmondson

My HSC Project was an exciting endeavor as I crafted a steel-string acoustic guitar, inspired by Martin's Orchestra Model (OM). This unique instrument featured a western red cedar soundboard, an Indian rosewood back, and an African Mahogany neck. Crafting this guitar was a labor-intensive process that demanded countless hours of hard work and creative problem-solving. I employed a range of specialized tools and jigs to achieve the desired shape, aesthetics, sound, and structural integrity befitting an acoustic guitar. The body of my guitar comprised meticulously book-matched soundboard, back, and sides. I adorned the edges with contrasting rock maple binding and purfling, elevating its visual appeal. To enhance its structural strength and resonance, both the top and back boasted a carefully crafted 15 and 28-foot radius. Additionally, I designed the guitar's back to taper down toward the neck for added comfort and playability. Inside the guitar, I dedicated substantial time to carving intricate braces, contributing significantly to the instrument's exceptional sound quality. The art of steam bending with a bending iron was an essential skill I mastered during the construction, allowing me to shape the guitar sides with precision. To infuse a touch of color and creativity, I incorporated abalone in the rosette, seamlessly tying it in with the fretboard inlays and bridge pins. The fretboard itself was constructed from Indian rosewood, featuring a 12-inch radius for improved playability. Abalone dots and steel frets adorned the fretboard, providing both visual and tactile interest. The guitar neck was meticulously carved with a gradual taper in width and thickness towards the headstock, ensuring comfortable playability. Speaking of the headstock, it featured an enhanced design with a veneer that showcased both female and male sections, outlining my initials. Throughout the guitar's construction, I employed intricate joinery techniques. A complex bolted mortise and tenon neck joint, set back at a precise 1.5-degree angle, ensured stability and resonance. The bracing, too, was carefully interlocked with cross-lapped joints connecting each brace and the guitar sides. Multi-layered rebate joints were used to incorporate the bracing and purfling seamlessly. Finally, a scarf joint was integrated into the guitar neck to maintain long grain patterns and enhance overall strength. This project was a true labor of love, combining craftsmanship, creativity, and dedication to produce a unique and exceptional acoustic guitar.

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