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  • Handmade Mandolin, Part 5: Assembling the Body
  • From "Handmade Music"
    episode DHMM-106


    PHOTO

    The Gibson F5 mandolin, on which this handmade replica is based, featured a top made of red-spruce. Modern luthier's like Lynn Dudenbostel strive to replicate the look and, more importantly, the sound of the great mandolins from the past.
    This episode of DIY's Handmade Music continues our three-part series on the building of a great custom mandolin. Luthier Lynn Dudenbostel glues the top and the back to the sides and then adds binding to complete the body. Finally, veiwers learn the first steps of making a neck.

    In this segment, the mandolin's body gets assembled.

    Materials:

    Instrument maker's glue
    Clamps
    Table router
    Sandpaper
    Wooden dowel
    Finger planes
    Gouges
    Sharp chisel
    Carpenter's pencil
    Safety glasses or goggles

    Safety Alert: Always wear safety goggles or safety glasses when
    working with wood, power-tools, saws, drills, routers, etc.
    advertisement


    Gluing the Top and Back to the Sides

    In the previous episode, Lynn Dudenbostel completed the construction of the red spruce top, crafting it with a combination of old and new technology. A computer-aided router cut the shape close to vintage specs, and Lynn, like luthiers of old, carved the final graduations using finger planes. The back was carved the same way, but Lynn used a block of curly maple. Finally he employed more "old world technology" to bend strips of maple around a heated pipe. These strips (or sides) formed the shape of the mandolin's perimeter. Now, to finish the body, Lynn will glue the top and the back to the rim.

    • The kerfed lining Lynn installed earlier provides plenty of surface area to spread a generous amount of instrument-maker's glue (figure A)

    • Once the glue is applied, Lynn places the curly maple back in place (figure B).
      Photo

      Figure A

      Photo

      Figure B


    • Plenty of clamps are used to secure the back to the rim as the glue dries(figure C).

    • After drying overnight, Lynn autographs his work. It's his last opportunity to work inside the instrument, because after the next step, attaching the top, the interior of the instrument will no longer be accessible.

    • Lynn attaches the top just as he did the back the back (figure D). He uses the same glue and spreads it along the kerfed lining.
      Photo

      Figure C

      Photo

      Figure D


    • After at least four hours of drying, the body is removed from its form (figure E) and the mandolin has begun to take shape (figure F), but there's still plenty of work left to be done. The overlap from the top and back needs to be cleaned up. Also, decorative binding must be installed before this body can be declared complete.
      Photo

      Figure E

      Photo

      Figure F


    • A quarter-inch flush-trim router bit is used remove most of the overhang from the top and back (figure G).

    • Then 100-grit sandpaper is used smooth out the bumps and clean up the surfaces. Lynn wraps the paper around a wooden dowel to work the bends and curves of the instrument (figure H). In time, Lynn finishes with a perfectly unified surface that melds the back, sides and top.
      Photo

      Figure G

      Photo

      Figure H


    • The biggest challenge of this phase of the mandolin construction is still ahead. The most distinctive characteristic of an F-5 mandolin is the swirling scroll at the top of the body (figure I). That feature simply cannot be created using a router bit. Lynn makes use of a variety of hand-ools to form the scroll.

    • First he carves away excess wood using a razor-edged knife. Then he glues sandpaper to a sliver of plastic and uses that to sand away surplus wood inside the scroll (figure J). Finally he uses gouges, chisels and finger-planes to sculpt the look of a classic mandolin scroll. It's this type of work that sets luthiers like Lynn Dudenbostel apart. There are no templates to guide him in this part of the process. His resources are experience and creativity.
      Photo

      Figure I

      Photo

      Figure J


      PHOTO

      Figure K

    When Lynn is finished with his handcrafting of the scroll, there is a nice separation between the scroll and the rest of the body (figure K). In the segment that follows, Lynn adds decorative binding to the outside edge of the instrument.


    RESOURCES :

    Stewart MacDonald's Luthier Supply Shop
    Website: www.stewmac.com

    Luthier's Mercantile International, Inc.
    Website: www.lmii.com

    Pioneer Valley Luthier Supply Company
    Website: www.pioneervalleyluthier.com


    GUESTS :

    Lynn Dudenbostel, Luthier
    Dudenbostel Stringed Instruments
    Knoxville, TN

  • ALSO IN THIS EPISODE: