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Thank you for purchasing the new Patent Pending Stringed Instrument Neck Templates from Luthier Suppliers! These templates include all the information needed to duplicate a neck. In association with Edward Victor Dick of EVD Stringed Instruments, and Director of The Colorado School of Lutherie, Luthier Suppliers now offers a first time builder or an experienced builder the chance to replicate a part of history. Edward discovered early on in his 30 year career as a custom builder that the most reliable way to ensure that his clients would like the feel of a new instrument was to precisely copy an existing neck that the player preferred. He thus began creating an archive of neck measurements and contours. The EVD Neck Contour Templates are the result of this research. Each template precisely documents 11 essential elements of an existing stringed instrument neck. All templates are cut on a laser machine and are cut within 20 thousands of an inch of tolerance. Actual dimensions of each template may vary due to the width of the neck or number of strings.
Legend: From left to right: R=12 - Radius of the fingerboard at the nut in inches, R=14 - Radius of the fret board at the last fret in inches, 2.25 - The width of the fret board at the last fret in inches, S1.776 - The model number and also the width of the fret board at the nut in inches, 25.4" Scale - is the scale of the guitar from nut to saddle without compensation, #10 .933 - The thickness at the 10th fret in inches, T & B - is a reference to the treble and bass side of the neck, #1 .860 - The thickness of the neck at the first fret in inches. It is important to note that each of these templates document an actual neck. And so, due to the inconsistencies of manufacture, they may not exactly match other instruments of that maker. The maker and year of the instrument can be found in the table below. Some necks are asymmetrical, whether by intention or by accident, and these asymmetries are indicated with B for bass side and T for treble side. In the case of mandolins or 12 string guitars string spacing are almost always asymmetrical at the nut and sometimes at the bridge and so the bass and treble sides are similarly indicated. Note that not only can these templates be used to recreate necks, but individual elements can be combined to create new and original neck shapes. They can also be utilized to recreate a single element for a specific instrument (for example, make a new nut or bridge for an old Gibson mandolin). * Cutouts for the nut and last fret are made very slightly oversize so as to more easily position the template to check fingerboard radius and string spacing. For actual size see numbers. You can either center the string spacing at the nut or, if you prefer, sneak it over to one side or the other as is sometimes done. The most important measurement here is the width of the first to last string. ** Also note that string spacings for guitars are marked mathematically perfect center to center even if existing instruments were slightly off. This was the system most commonly used on older instruments. String spacings for mandolins and 12 string guitars were taken directly off existing instruments and as such often do take into account string diameter. They may or may not be mathematically perfect.
Steel String Guitar(Archtop/Flat-top) Item Number
Nut Width
Scale Model Length
Comments
S1.257
1.257
22.50
Similar to, but slightly bigger than most tenor banjo necks
S1.338
1.338
22.50
1966 Martin® 8 String Tenor
A rare example, could also be used as an octave mandolin
S1.639
1.639
25.25
1999 Ovation® Celebrity
A very slim neck popular amongst people who play mostly electric guitars
S1.690
1.690
24.75
1945 Martin® 000-18
A shorter scale length and thicker than a similar period OM
S1.692
1.692
25.50
2005 Collings Archtop
Narrow and slim with a slight V shape
S1.693
1.693
24.75
1940 Martin® 000-28
Narrower but thicker than its modern equivalent
1930 Martin® Tenor
S1.694
1.694
25.25
1982 Ovation® Balladeer Model 1617 Similar to S1.639 but a bit bigger all the way around
S1.700
1.700
25.50
2006 Collings D1
Similar in width to a modern Martin but slightly thicker and more V shaped
S1.708
1.708
25.40
2006 Martin® HD-28
The modern standard for bluegrass
S1.719
1.719
25.40
2004 Steve Anderson Archtop
Distinctly asymmetrical
S1.720
1.720
24.75
1956 Gibson® J-45
A fairly narrow semicircular neck, particularly good for bar chords
S1.725
1.725
25.50
2005 Maton ™ EBG808 T. Emmanuel Works well for Tommy, who has his action set very low with no neck relief
S1.731
1.731
24.75
1955 D'Angelico New Yorker
A very strong radius on fingerboard makes it excellent for bar chording
S1.741
1.741
25.4
1935 Martin ® D-18
Similar to, but thicker and wider, than its modern equivalent
S1.751
1.751
25.40
2001 Martin® D18VS 12 Fret
Strong V shape with wide string spacing at the bridge
S1.755
1.755
25.70
2004 Ryan Cathedral Grand Fingerstyle
A good example of what modern finger style players prefer
S1.758
1.758
25.50
1997 Taylor® Jumbo Cutaway
A good generic neck, comfortable with a variety of playing styles
S1.760
1.760
25.40
1930 Martin® OM
The holy grail of finger style guitars with a very slight V shape
S1.762
1.762
25.40
2006 Martin® OM
A stronger V shape than its predecessor
S1.768
1.768
25.50
2006 Taylor® Grand Concert
A popular guitar and an even more popular neck
S1.770
1.770
25.50
2006 Goodall™ KCJC
Slightly wider than most at the bridge
S1.771
1.771
25.50
2006 Collings OM
Rounder profile than the Martin™
S1.776
1.776
25.50
2006 Goodall™ Grand Concert
Slightly wider and slimmer than S1.770
S1.787
1.787
25.00
2006 Goodall™ THR-000 12 Fret
A touch wider than most Goodall's™ with a shorter scale
S1.825
1.825
25.40
2006 Victor Model I
Wider than most at the nut; particularly good for modern finger style
S1.830
1.830
24.75
1990 Santa Cruz™ F
Very thin and wide neck good for those with extra large hands
S1.866
1.866
24.75
1922 Martin® 0-28
A typical Martin neck just before the advent of truss rods
S1.875
1.875
25.50
2002 Larivee® 12 String
One of the slimmest 12 string necks on the market
S1.883
1.883
25.00
1892 Martin® 0-21
The strongest V shape in the entire collection, great if you like to fret the bass string with your thumb
S1.885
1.885
25.50
1996 Taylor® 12 String Model 655
A touch wider than the Larivee at both the nut and the bridge
Disclaimer: Luthier Suppliers makes no claims of ownership of Registered Trademarked material nor does it have an affiliation with the trademarked companies above. Other company, product, and service names mentioned in these documents may be trademarks and/or service marks of others. All other trademarks are the property of their respective owners. http://www.luthiersuppliers.com All Rights Reserved ©2007 Luthier Suppliers
Mandolin, Mandolas, etc. Item Nut Scale Number Width Length
Model
Comments
M1.131
1.131
13.875
1984 Monteleone™ Grand Artist F- Thinner than the Loar with a strongly radiused fingerboard 5
M1.133
1.133
13.875
2006 Collings F
Wider string spacing @ the bridge than the Loar, radiused fingerboard
M1.145
1.145
13.875
1988 Gibson® F-5
Stronger V shape than the Loar with slightly wider string spacing, radiused fingerboard
M1.202
1.202
16.600
1984 Steve Anderson Mandola
Significantly wider string spacing @ the bridge and rounder than a Gibson
M1.226
1.226
13.875
1918 Gibson® A-4
Very strong V shape and flat fingerboard
M1.232
1.232
26.375
2004 Trinity College™ Bouzouki
Flat fingerboard, extra long scale
M1.295
1.295
25.400
1999 EVD Octave Mandolin
Radiused fingerboard, wider string spacing than the Trinity College version
M1.350
1.350
15.750
1917 Gibson® H-4 Mandola
Wider @ the nut but narrower @ the bridge than the Anderson, V shape
Electric Guitar Item Nut Scale Model Number Width Length
Comments
E1.585
1.585
29.88
1965 Hofner® Beatle Bass
Much shorter scale and narrower than a Fender, good for small hands
E1.640
1.640
25.50
2000 Tom Anderson Stratocaster® A touch narrower and thinner than most Fenders
E1.652
1.652
25.50
1960 Fender® Stratocaster®
Considered by some to be the most versatile neck ever made
E1.660
1.660
25.50
1969 Fender® Telecaster®
Thicker than most Strats, especially at the nut end
E1.687
1.687
24.50
2005 Gibson® Les Paul ®
Rounder profile than a Fender, with a shorter scale
E1.695
1.695
24.60
1992 Gibson® ES335
More D shaped profile than a Les Paul
E1.700
1.700
24.60
2005 Gibson® SG
Similar to a Les Paul but a touch wider
E1.706
1.706
25.50
2002 Jackson™ SL2H Soloist
Very thin and flatter on the back than a Fender
E1.720
1.720
25.50
1957 Gretsch™ Country Gentleman
Bigger all around than most electrics, a true acoustic/electric
Classical Guitar Item Nut Scale Model Number Width Length
Comments
C48.0
48.0mm 647mm 2004 Taylor® NS-42CE
Slim D shape, hybrid electric nylon string
C50.0
50.0mm 650mm
2006 EVD Pearl Model
Rounder than the Taylor, with similarly radiused fingerboard, hybrid jazz classical
C51.6
51.6mm 630mm
1958 Goya
Short scale, very slightly radiused fingerboard, good for small hands
C51.7
51.7mm 655mm
1968 Antonio Marin Flamenco
Thinner and narrower than most concert classicals; this guitar was originally owned by Paco de Lucia
C52.0
52.0mm 650mm
2006 EVD Concert Classical
Slimmer and rounder than most concert classicals, very slightly radiused fingerboard
C52.73
52.7mm 650mm
1999 Robert Ruck
Traditional D shape, flat fingerboard
C58.0
58.0mm 650mm
2005 EVD 7 String
Extra bass string, string spacing similar to his Pearl Model
C68.0
68.0mm 650mm
2002 EVD 8 String
Extra treble and bass string, with slightly narrower string spacing than his 7 string
C80.0
80.0mm 650mm
1985 EVD 10 String
Humongous neck, bass strings are tuned diatonically like a theorbo and rarely fretted