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LoonSong Guitars

Though I am etherealcanvas.ca now, I used to be Loonsong Guitars

I am (or, I was) a Luthier; constructing hand-crafted acoustic (mostly) instruments, mainly guitars. This became a hobby in the later years of my career. Working in my guitar shop on the shores of Collin's Lake near Kingston, Ontario, I created a total of 12 instruments and also devised several guitar making devices to aid me in the construction. 


Now in my retirement, I live in Victoria, B.C. I no longer make guitars but play six of my creations, including my beloved RW custom 6-string guitar and my equally beloved RW 12-string  guitar.

About Rob

  I have been a Faculty member and Program Coordinator at St. Lawrence College in Kingston Ontario, Canada for 34 years. 

In 2017, I retired from teaching and moved, with my wife to Victoria, British Columbia. Here, through etherealcanvas.ca  I continue my interest in creating digital images, mostly by creating natural environments. 

Carving a Soundboard Brace

As a luthier at Loonsong Guitars, I would toil away at creating the best instruments possible in my guitar shop by the lake and the sounds of loons. 


I concluded Loonsong Guitars in 2017 when I retired from being a college teacher at St. Lawrence College.

Playing on my beloved RW custom dreadnought 6-string guitar.

  Have a look below the Collection of Instruments to see the guitar building process....

Collection of Instruments. . .

1st Guitar: Parlor 000

2nd Guitar: Dreadnought

2nd Guitar: Dreadnought

My first guitar was a triple-O parlor style guitar from a  Stewart Macdonald kit.

2nd Guitar: Dreadnought

2nd Guitar: Dreadnought

2nd Guitar: Dreadnought

On the second guitar I decided to go full Dreadnought style....again a kit from Steward Macdonald.

3rd Guitar: Classical

2nd Guitar: Dreadnought

4th Guitar: The Rob Woudsma (RW) custom Guitar

On the third guitar, I meticulously went through the book by John Bogdanovich on making the classical guitar.

4th Guitar: The Rob Woudsma (RW) custom Guitar

4th Guitar: The Rob Woudsma (RW) custom Guitar

4th Guitar: The Rob Woudsma (RW) custom Guitar

For the 4th guitar I incorporated  many of the features I had been seeing in other guitars; Florentine cut-away body, 5-ply neck wood, player's side sound-hole,  abalone shell inlay, triquetra main sound hole, floating neck, pinless bridge and beveled edge soundboard.

5th Instrument: Irish Bouzouki

4th Guitar: The Rob Woudsma (RW) custom Guitar

6th Instrument: Les Paul Electric Guitar.

For a change I took my hand at making a completely different instrument...the Irish Bouzouki.

6th Instrument: Les Paul Electric Guitar.

4th Guitar: The Rob Woudsma (RW) custom Guitar

6th Instrument: Les Paul Electric Guitar.

Continuing with embracing change, I made a replica Les Paul-style electric guitar.

7th Guitar: Dreadnought 12 string

9th Guitar: The Dan Vandermeer (DV) custom guitar

7th Guitar: Dreadnought 12 string

I have always loved the sound of a 12-string guitar... so I made my own - RW guitar. Copiously  inlaid with white mother-of-pearl shell wherever I could. 

8th Instrument: Koa Ukulele

9th Guitar: The Dan Vandermeer (DV) custom guitar

7th Guitar: Dreadnought 12 string

Tried my hand at making a traditional Hawaiian Ukulele. Still play it on occasion...

9th Guitar: The Dan Vandermeer (DV) custom guitar

9th Guitar: The Dan Vandermeer (DV) custom guitar

9th Guitar: The Dan Vandermeer (DV) custom guitar

Built for my praise team guitar partner of many years.  This custom guitar has many of the same customizations as I used my own custom guitar.

10th Guitar: the Strum Stick

11th Guitar: Redwood dreadnought guitar

9th Guitar: The Dan Vandermeer (DV) custom guitar

Weird little Instrument that got a lot of attention over the years. The StrumStick (more properly called the dulcimer guitar) has only 3 strings and is played like a dulcimer.

11th Guitar: Redwood dreadnought guitar

11th Guitar: Redwood dreadnought guitar

11th Guitar: Redwood dreadnought guitar

 The soundboard is made of “sinker” redwood which had been submerged in a B.C. river for many decades.   

Rebuild of the 12-string guitar

11th Guitar: Redwood dreadnought guitar

11th Guitar: Redwood dreadnought guitar

So as it turns out, the gorgeous Macassar Ebony I used on the the original 12-string body can't take the Ontario winters and began to crack before I was even done.  I had to meticulously remove the back and side Macassar wood and replace it with Walnut. That's what really finished the guitar! 

Links To Construction Phases

Follow these links to view more detailed phase steps to crea
1 - Wood Selection & Joining2 - Shell Inlay3 - Soundboard & Back Bracing4 - Constructing the Neck5 - Neck Finishing & Fretboard6 - Bending Sides & Connecting Blocks7 - Assembling the Guitar Body8 - Adding Binding & Purfling9 - Finishing & Buffing10 - Installing the Bridge11 - Final Stringing & SetupThe Completed Guitar

Phase 1: Wood selection, Sanding & Joining

Step 1: Wood Selection

 The woods that will be used in the 12-string guitar: Sitka “Bear-claw” Spruce sound board and Macassar Ebony back and sides. Sitka Spruce is known to have superior sound qualities while the grain colour of Macassar Ebony is just gorgeous.

Step 2: Thinning the wood sections

  A home-built thickness sander is used to reduce each sound board half down to a uniform thickness of about .1” to .11”  

Checking the soundboard thickness

Checking the soundboard thickness

The thickness sander sands the wood  uniformly across its face. A micrometer is used to check the board thickness after a few passes. If not at the required thickness, an bed-elevating knob is given a turn to reduce the sanding gap and the wood is passed through again.

More Thickness Sanding...

..,both backboard and soundboard

Checking the soundboard thickness

The same will be done to side and back board wood sections. The side woods are sanded down   to about .12" and the back wood is left at .125" for more strength.

Step 3: Trueing the wood Edges

..,both backboard and soundboard

..,both backboard and soundboard

 The two symmetrical halves of the back board must be sanded perfectly straight on a polished marble or granite sanding stone fitted with adhesive-backed 200 grit sandpaper.   

..,both backboard and soundboard

..,both backboard and soundboard

..,both backboard and soundboard

 The joining edges of the sound board must be sanded perfectly straight 

Testing the joint gap

Step 4: Joining the sound board halves

Step 4: Joining the sound board halves

 When hand held together against a strong light, if no light can be seen to creep through the joint, the edges are straight enough to glue together 

Step 4: Joining the sound board halves

Step 4: Joining the sound board halves

Step 4: Joining the sound board halves

 Once the edges of the sound board are true they each are placed on my joining jig to be clamped and aligned while they are glued together 

... joining the back boards

Step 4: Joining the sound board halves

Step 5: Clamping the back board

 For the back of this guitar I’ll be using a centre strip which will continue to match the edge binding on the sides. It consists of two strips of  maple with a thin black and white trim center. 

Step 5: Clamping the back board

Step 5: Clamping the back board

Step 5: Clamping the back board

 The two back boards and center strip are glued together in the same way as the sound board was; all three pieces clamped together in the joining jig. 

Phase 2: Shell Inlay

Rosette inlay Pattern

Arranging the ebony circle

Arranging the ebony circle

 The Celtic braid design for the rosette created on AutoCAD.  Each knot is made of five separate pieces which is then repeated 20 times to complete the braid. 

Arranging the ebony circle

Arranging the ebony circle

Arranging the ebony circle

 First the ebony base must be made. Here a channel is routed into a blank board to fit the individual ebony pieces. Made from tiles because the ebony grain must radiate outwards 

Routing the Soundboard

Arranging the ebony circle

Routing the Soundboard

 Now the sound board is routed just beyond the perimeter of the sound holes to accept the ebony tiles. The sound hole itself will be cut out much later. 

Router Close-up

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Routing the Soundboard

Close up view of the 3/16” router bit used to route out the inlay channel into the sound board

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Conversion Rate Optimization

Conversion Rate Optimization

 Along with the ebony tiles there will be an inner and outer band of black and white trim or “purfling "

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Conversion Rate Optimization

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 The ebony is now almost fully inlaid into the sound board. It and the purfling trim will be glued and sanded flush with the sound board surface. 

Sawing the Mother-of-Pearl shell pieces

Celtic rosette pattern is also applied to the ebony ring

Arranging the rosette Mother-of-Pearl shell pieces

 Paper outlines of the individual Celtic braid pieces are glued to the surface of sections of white mother of pearl shell. Here, a very fine coping saw is used to cut each piece out 

Arranging the rosette Mother-of-Pearl shell pieces

Celtic rosette pattern is also applied to the ebony ring

Arranging the rosette Mother-of-Pearl shell pieces

  As the shell pieces are cut they are laid out to inspect the progress of the braid. Then they are numbered and stored in order. 

Celtic rosette pattern is also applied to the ebony ring

Celtic rosette pattern is also applied to the ebony ring

Celtic rosette pattern is also applied to the ebony ring

 The full paper pattern of the braid is also glued to the ebony ring surface. This serves as a routing guide to place the pieces of shell. 

Routing a channel in the ebony ring for shell pieces

Routing a channel in the ebony ring for shell pieces

Celtic rosette pattern is also applied to the ebony ring

 The channel for a section of shell braid is routed and fine trimmed 

Wet grinding each piece . . .

Routing a channel in the ebony ring for shell pieces

Wet grinding each piece . . .

 Each shell piece is also wet ground and fitted to its routing channel by hand 

Fully Inlayed Rosette

Routing a channel in the ebony ring for shell pieces

Wet grinding each piece . . .

 Then the pattern paper on the shell and ebony is sanded clean and flush to the soundboard 

Phase 3: Soundboard & back Bracing

Spruce bracing wood

Upper Brace Profile

 In phase 3 the spruce bracing is cut , shaped and glued to the sound board. This guitar follows the standard “X” bracing style.

There are three tone braces in the lower bout of the guitar for extra strength for a 12-string.

Upper Brace Profile

Upper Brace Profile

 Each sound board brace is cut from quarter-sawn spruce, hand-shaped and profiled…. 

Lower Brace Profile

Lower Brace Profile

A very sharp straight chisel is used to carve the braces

Main X- Braces

Brace clamping Closeup

Lower Brace Profile

 Interlocking main “X”braces are glued and clamped into place. These form the major structural support of the sound board 

Tone Braces are next

Brace clamping Closeup

Brace clamping Closeup

 Smaller tone braces are glued to each side of the X braces. Shaping of these will define the guitars sound 

Brace clamping Closeup

Brace clamping Closeup

Brace clamping Closeup

Closeup of the clamping for the tone braces.

Sound hole cut out

 Finally, the sound hole is cut out of the sound board.

The Dremel router is used to route progressively  deeper through the sound board until the hole is completed, leaving a clean edge

Completed Bracing patterns

 Now the sound board and the back board are essentially complete. They are ready to be glued to the sides, which will also be made of Macassar Ebony, as the back is. But before the sides are thicknessed and bent to shape, the neck will be constructed. 

Soundboard & Backboard front view

Soundboard & Backboard front view

We take a break from building the guitar body now and turn to construction of the guitar neck 

Phase 4: Guitar Neck Construction

5 - layer neck construction

 The neck is built up of five wood layers; Outsides are Mahogany, then Maple and finally a center of Ebony. The five wood layers give the neck increased strength over a single block of wood. The mahogany and maple is cut down the center and one side is reversed to give opposing grain to the other side for even more neck strength. 

Neck woods camping

 

The five pieces are now aligned, glued together and clamped overnight..

The major issue here is to keep the individual pieces from “skating” on the glue out of alignment when the clamp pressure is applied. Sometimes the use of alignment pins is necessary.

Completed neck block

 The raw neck is now complete. It must be shaped and be brought to the correct dimensions for mounting onto the guitar body 

Leveling of the neck wood

 The top of the neck must be perfectly flat for the fretboard to be attached. Here the neck top is sanded on the perfectly straight granite sanding surface like the sound and back boards

Initial neck cutout

 The general shape of the final neck is cut out on a band saw. The cut is made well outside the neck outlines to allow for final shaping later. 

Routing out for the Truss rod

 A channel must be cut into the center of the top of the neck for the insertion of a truss rod. This rod can be adjusted to compensate for any bowing of the neck that might occur when the strings are installed or general bowing over time. 

Neck to guitar body connection

 The neck will be connected to the body of the guitar by a mortise and tenon joint secured by ¼  bolts and dowel nuts. 

Rough shaping the neck

 The shaping of the neck’s contour  is done quite quickly using two grades of  specialized rasps called “dragon” rasps. These are covered with hand formed with dragon “scales” that remove a large amount of wood in each stroke 

Final guitar neck shape

Final guitar neck shape

 The neck is now roughly formed to its final shape. Further sanding will be required… 

Phase 5: Neck finishing & Fretboard

Creating the "Headstock"

 A thin cover plate, called the headstock is glued over the peghead of the guitar. The outline of the 12 Goto tuners, the LS logo and the ebony  truss-rod cover plate is affixed as well.

Inlaying the LoonSong Logo into the Ziricote headstock plate

 Following the same technique used in the rosette, the LoonSong logo is inlaid into the Ziricote headstock cover wood.

Carbon fiber re-enforcing rods

 For the added neck strength required for a 12-string guitar, I’ve routed out more two slots; on either side of the truss-rod slot and added two carbon-fiber re-enforcing rods to keep the neck from bending at all. 

More Mother-of-Pearl inlay

I have found that inlaying shell into wood, as completely meticulous as it was,  became one of the most enjoyable parts of guitar building. It requires great patience but take me to a "Zen" like state.  Here, Celtic designed knots and the "RW" logo are to be inlaid into the fretboard.

Pressing in the fret wires into the Fretboard

 The fretboard fret slots are cut using a precise mitre and fine slotting saw. Then the frets are pressed into the slots using this arbour press. 

Clamping the Neck wood and Fretboard

 Once the ebony fretboard is inlaid with Mother of Pearl in the same way as the rosette was and fretted, it is glued and clamped onto the neck body. 

Completed neck with Fretboard Website

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Headstock cover plate with inlay

 The bold-grained, Ziricote wood headstock cover plate is glued to the neck headstock of the neck and slotted to allow access to the necks truss rod. 

Completed headstock with hardware & Inlay

Completed headstock with hardware & Inlay

 The completed headstock is fitted with gold "Goto" tuners. Even the ebony truss-rod cover plate is inlaid in white Mother-of-Pearl shell.

Phase 6: Bending the Sides & Blocks

Electric Heating Pipe

Bending the guitar side wood

Bending the guitar side wood

T he side wood is thinned to about .08 to .1” and must be wetted and heated to bend. This is an electric, temperature-controlled heating 

Bending the guitar side wood

Bending the guitar side wood

Bending the guitar side wood

 The wetted side wood is placed on the pipe once the temperature is about 300oF.  As the wood heats and steam is created in the wood fibres, the fibres  will “relax”. Then a small amount of pressure will cause the fibres to bend. 

. . . Careful! tighter bend

Bending the guitar side wood

Updated Guitar Bending device

 Care must be taken not to over stress the bend the Florentine cut-away wood to the point where the side wood will crack, just enough to facilitate the bend. 

Updated Guitar Bending device

Updated Guitar Bending device

Updated Guitar Bending device

 In later years I designed a guitar side  bender.

This design uses a 6” by 36” silicon heating blanket sandwiched with one guitar side wood sandwiched between two spring steel slats.

With the vertical waist press opened, the “sandwich” is placed on a wooden mould of one guitar side. The waist position on the wood is marked and this mark is lined up to the centre of the waist position  of the mould. Then the press is closed and snapped tight.

The heat is turned on and set on the temperature controller to 330oF. Once the temperature almost reaches the 330oF the waist press is slowly lowered, pressing the wood in at the waist point.

Assembly mould

Updated Guitar Bending device

Assembly press blocks

 The mould above is used to hold the bent sides into the correct position for assembly of the sides to the neck block, tail block and if there is a cut-away in the guitar, the cut-away block 

Assembly press blocks

Updated Guitar Bending device

Assembly press blocks

 With the sides in place. The mould is closed and the sides are pressed into position. The blocks are dry-placed to check their shape and position before gluing the side assembly together 

Florentine cut-away block assembly

Florentine cut-away block assembly

 A cut-away block is required to connect the treble side of the guitar to the Florentine cut-away section of guitar side. To properly align the block, clamping must be done from the front as well as the back of the guitar. 

Guitar body to be released

Florentine cut-away block assembly

 Once the neck block, tail block and Florentine cut-away block are all glued in place , the final shape of the guitar is  set. The connected sides can be released from the mould. 

Body assembly so far. . .

Body assembly so far. . .

 The sides are now ready to be assembled with the guitar back and then the guitar front to form the guitar body 

Phase 7: Assembling the Guitar body

Sanding the body edge

Kerfing clamped to the side wood

Kerfing clamped to the side wood

 The edge of the sides at the back are sanded down to the appropriate wide dimension, flush with the tail block The sanding tool with adhesive sand paper has a 15 foot radius to fit the sound board radius.

Kerfing clamped to the side wood

Kerfing clamped to the side wood

Kerfing clamped to the side wood

 The kerfing wood strips are then glued around the inside of the back edge,  just a hair proud of the edge. This serves as a gluing surface for the back board to bond to the guitar sides.  

More kerfing is glued on. . .

Kerfing clamped to the side wood

More kerfing is glued on. . .

  The kerfing is glued all around the perimeter of the front and back of the guitar, even here at the Florentine cut-away The kerfing will now also be sanded until it is flush with the sides. 

Clamping the back & sides

More kerfing is glued on. . .

 Once the back edge is completely kerfed, the back is glued on. Spool clamps are used to maintain pressure around the full perimeter of the guitar body. 

Completed back & side assembly

 The back is secured onto the guitar sides, ready for the LoonSong label to be applied before the front edge also is kerfed and the sound board is glued on 

Mounting the Soundboard

 The sound board of the guitar is glued onto the sides in the same way as the back board was. Once dry, the back board and sound board overhang is trimmed flush with the guitar sides 

Phase 8: Adding the Binding & Purling

Binding & Purfling Router Arm

 One of the more critical requirements when cutting the channels for guitar binding and purfling is that the cut be made vertically. This usually means in line with the sides of the guitar. 

What is required is a way to allow the router to be moved through three degrees of freedom; 1) forward and backward, 2) sideways right and left and, 3) up and down while holding the router perfectly vertical with the guitar held perfectly horizontal.

This router allows for the three degrees of freedom  while an adjustable bed holds the guitar body such that the facing surface is reasonably horizontal.


Channels in the Wood

 Here, the binding and purfling channels have been cut into the guitar body edges in preparation for the application of the trim wood strips

Wood strips glued & tacked

Clean-up with Cabinet Scraper

  The maple binding is bent to form along the top, back and cut-away edges. The binding is glued and taped in place with “high-tack” tape until the glue is dry. 

Clean-up with Cabinet Scraper

Clean-up with Cabinet Scraper

Clean-up with Cabinet Scraper

The edge binding is then scraped with cabinet-makers scraper to bring it flush with the guitar body wood 

View of Binding & Purfling

Clean-up with Cabinet Scraper

View of Binding & Purfling

On the front of the guitar the purfling consists of multi-coloured Abalone shell bounded by two black-white-black bands 

Phase 9: Neck and Body Finishing & Buffing

Spray booth

Spraying the neck

Spraying the neck

 One of the final stages is the finishing. This itself is a three stage process. First a clear grain filler is applied if the wood grain is porous. This is followed by 15 to 16 coats of sanding sealer, with light sanding between every three coats. 

Spraying the neck

Spraying the neck

Spraying the neck

 Finally 3 to 4 coats of clear top coat is applied for what will be the high gloss finish. This all done before assembly and the bridge is installed

Sanding . .

Spraying the neck

Buffing wheel

 Once the Sanding Sealer and Top Coat layers have been applied, the neck and body are thoroughly sanded. The process begins with 320 grit paper and continues to a final sand with 2000 grit wet paper. 

Buffing wheel

More Buffing . . .

Buffing wheel

 Once the entire guitar is sanded with 2000-grit wet paper it will already have a dull shine. Flannel buffing wheels with course and then fine buffing compound brings the surface to a mirror-like finish. 

More Buffing . . .

More Buffing . . .

More Buffing . . .

Phase 10: Installing the Bridge

Tracing the bridge outline

Scraping the finish under the bridge

Scraping the finish under the bridge

 The outline of the properly positioned bridge is cut through the finish with a sharp knife. 

Scraping the finish under the bridge

Scraping the finish under the bridge

Scraping the finish under the bridge

 Then the finish under the bridge is removed very carefully using paint remover and chisels as a scraper 

Bridge gluing surface

Scraping the finish under the bridge

Bridge gluing surface

 The footprint of the bridge must be clear of finish to get a strong glue bond between the sound board and bridge. 

Clamping the Bridge

Bridge gluing surface

  temporary clamping caul is placed against the bridge plate inside the guitar and the bridge is glued and clamped, here with four wide C-clamps with Teflon pads. 

Unseen Insurance Screws

 In this 12-string there are two “insurance” screws inserted through the bridge after gluing .  The holes for the screws are filled with wooden Ebony plugs and made flush with the bridge body. 

Final Bridge design

The Bridge on this 12 string guitar does not use any pegs to hold down the strings. Following the Ovation guitar design, there is a hole in the bridge itself through which the string is fed.

Phase 11: Final Stringing & Guitar Set-up

String tension setup

Filing the guitar neck slots

Filing the guitar neck slots

 When the strings are installed and at full tension, the height of each string at the first fret is tested with a height gauge. The string height should be as low as possible without causing buzzing. 

Filing the guitar neck slots

Filing the guitar neck slots

Filing the guitar neck slots

 The slot of each string is filed with the correct width nut file until the best string height is established. The guitar is now setup for playing. 

The Completed Loonsong 12-String Dreadnought Guitar

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