Here are the braces on mine. The one on the left came off my 1976 1619. This was the factory engineering guitar. The one on the right came off my 1978 1617. There are several refinements to the 1617 braces, themselves, but the pattern of the fan braces are nearly identical to each other.

As you can see, they are not parallel. Also, they are not evenly spaced from each other. At the top where they meet the cross-brace, they are spaced from left to right: .625", .75", .75", .6875, .875", .875". (15.9mm, 19mm, 19mm, 17.5mm, 22.2mm, 22.2mm)

At the bottom, they measure from left to right, 1.125", 1", 1.375", 1", 1", 1". (32mm, 25.4mm, 35mm, 25.4mm, 25.4mm, 25.4mm)

Like I say, the two sets of braces from these two guitars measure pretty close to the same distances, top and bottom. Since they were built two years apart, I don't think the spacing was accidental.

But, it's interesting that the braces on your guitars look parallel. I wonder if it's an optical illusion from how close the camera is to the cross brace.

Yep. It's an optical illusion. Here's a pic I took of my braces that matches the angle and location of your pics.

As you can see, they look parallel even though we know they aren't. So, that means that your CLs also have this same asymmetrical pattern on the fan braces.

Nice guitar.

Back to building.

I was able to get the top wood thickness sanded. I also cut out the basic outline and drilled the holes for the bridge locating pins. I checked the neck angle and it's plenty good and won't need a neck reset. (Yay!)



I cut the sound hole and fitted the rosette.

Next job is to lay out the braces on the underside of the top and start gluing them down.

Normally I would wait to drill the hole for the pick-up wire until after the top is glued to the bowl, but because of the spacing of the fan braces I decided it would be best to do it now. This will be a cool-looking guitar. It's going to have an ebony CL bridge with a black pickup and a pearloid rosette.

Brace pattern is laid out on the underside of the top.

I used the 1619 top I had to confirm the brace pattern was correct. The mis-alignment seen in the pic below is due to parallax.

Braces glued, waiting to dry. I'll glue the aluminum reinforcements tomorrow after the OBG has dried.

Aluminum reinforcements glued into place.

Top being glued to bowl.

The glue joint between the top and bowl was cured enough that I was able to pull the weights off.

I used some of epoxy I mixed up for the fretboard extension of the 1111 to glue the binding that popped off the end of this fretboard extension.

I'll let the top/bowl glue joint cure until this afternoon, then I'll grind down the excess top material in preparation for routing the binding and purfling channels.

Top is glued and out of the clamping fixture.

I routed the binding and purfling channels.

And, glued the binding and purfling into place. I'll let the glue dry until tomorrow, then pull tape and start scraping.

Binding tape pulled up.

Binding and purfling scraped down. The top is ready for finishing. But, while I work on the headstock repair and finishing the neck on the 1111-4, I'll refret this guitar's neck with EVO gold frets.

Old frets are out, slots cleaned. New frets cut, tangs trimmed, ready for installation.

New frets are installed. I'll let the glue dry until tomorrow, then trim and bevel the ends. After that, they'll be ready for leveling and crowning.

Dan, I dont think it will exceed 485 in acoustic response...I just cannot see how that is possible. I am not sure if you remember, but we talked briefly about going the A route, but you convinced me otherwise....and I am glad you did. How much difference will the bowls play, do you think?