M any of Breslin's classical and flamenco guitars utilize laminated sides, designed for extra strength and stiffness, maximizing the amount of energy transmitted between the soundboard and back.
Lamination also helps prevent side cracks, especially when Brazilian rosewood is worked at such low tolerence levels.
This sequence of photographs document Breslin's side bending process, all the steps involved in the correct order.
However, due to a lack of available time in the workshop for this photo session, the normal heating and shaping timeframes were reduced.
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B oth sets have already been thinned prior to shaping.
Breslin's flamenco design uses extremely thin sides; his classical sides are noticeably thicker, easily distinguished even by my untrained eye.
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T his side bending machine uses three very strong lamp bulbs as the heating source.
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S pecial paper is used to cleanly manage wood sap leakage during the bending process.
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C enterline for the waiste is marked and the sets are carefully aligned.
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T he wood is slowly heated before being dampened.
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T he sides need to remain damp during the bending process.
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B reslin lightly sprays both sides and then returns them for more heating.
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L ong and moderate heating levels are increased just before the shaping process begins.
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B ending eventually begins with a slow middle clamp and progresses toward the bouts.
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E ven pressure is applied slowely toward each bout.
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M ore water is applied during the clamping process.
Heating temperatures are increased gradually at first, peaking during the initial clamp, then the temperature is slowely reduced after the final clamps are positioned at the end of each bout.
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A nother clamping jig is used to cool and finalize the proper shape.
This jig is also used to glue the two sides together after the shaping process has concluded.
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S everal clamps are needed, along with flat stainless steel "I" braces.
Heavy clamping/bracing insures a correct shape; this hardware is especially important during the upcoming lamination/glue procedure.
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T he sides are quickly moved to the clamping jig.
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C lamping starts from the middle again, working toward the bouts.
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T he sides will remain in the jig overnight.
The entire process is repeated for the other side set.
After the sets cool, they are glued together using the same jig and clamping technique.
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