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acoustic guitar

How Seth Newsome Made a Hybrid Carbon-Fiber Acoustic Guitar

Seth Newsome’s hybrid acoustic guitar paired a carbon-fiber body shell with wooden instrument parts. His project account details the mold, layup, assembly, and lessons learned.

By ThatPainter Team 4 min read
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Seth Newsome’s guitar combined a molded carbon-fiber composite body shell with wooden instrument parts, including its soundboard, headstock, fretboard, and bridge. In his May 6, 2015 Make: project account, he describes forming the shell over a cardboard mold, then fitting and finishing the instrument. It is a useful account of one workshop build—not a tested recipe for guitar acoustics or a universal construction specification.

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What made this a hybrid guitar

Carbon-fiber composite formed the body shell; wood supplied the soundboard and several central playing and structural components. Newsome modeled the body on a 1940 Gibson L-00 plan, then used his shell as the foundation for the wooden parts. The project therefore involved both composite fabrication and the precision work of building an acoustic instrument.

His account, “How I Made a Carbon Fiber Acoustic Guitar”, was published in 2015. It documents his materials, choices, and setbacks. It does not report controlled sound measurements or establish that this construction performs better than a wooden guitar.

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How he formed the body shell

Making a mold to suit the cloth

Newsome created a positive mold from stacked, laser-cut cardboard slices based on a 3D model. For his project, the model measured about 935 mm long, 358 mm wide, and 111 mm deep; he cut it into 56 slices across 23 cardboard sheets. These are dimensions and fabrication details of his particular guitar, not standard acoustic-guitar measurements.

He rounded the body sides rather than relying on sharp corners. Plain-weave cloth can resist conforming to tight transitions and tent away from the mold, so its drape influenced the shape. Where underlying layers lifted at a tight curve near the neck, he used relief slits and overlaps. He also softened a sharp transition with auto-body putty.

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Brushing on the composite

His layup used plain-weave carbon fiber, S-Glass as a less expensive filler layer, and marine-grade epoxy. He applied resin with a brush and gloved hands rather than vacuum bagging. He laid carbon fiber, then S-Glass, then another carbon layer, taking particular care with the outer, visible “show-layer.” He later added Coremat foam reinforced with S-Glass to strengthen flexible areas.

Newsome reported that the epoxy he used had a 4:1 resin-to-hardener ratio and a stated pot life of 20–30 minutes. Those figures apply only to the product in his account. Resin ratios, usable time, temperature limits, and cure schedules differ by product; follow the selected epoxy manufacturer’s current instructions and safety documentation. He recommended arranging the materials before mixing so the layup can proceed within the product’s working time.

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He said cold workshop conditions slowed his cure and that he used a low-setting powder-coating oven below 120°F to ensure it cured. That describes his procedure, not a general heating recommendation: use only the cure conditions specified for the epoxy you choose.

Releasing and reinforcing the shell

After releasing the shell from the mold, Newsome added Coremat along the edges and down the center from the neck. He placed S-Glass beneath the Coremat because it did not adhere well to the carbon fiber by itself. He then flattened the body and shaped a pocket to receive the soundboard.

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Fitting the wooden instrument parts

The shell did not eliminate the demanding parts of guitar construction. Newsome installed the soundboard, headstock, fretboard, and bridge, and emphasized the need for a proper guitar-building reference to place the bridge and lay out the frets accurately. He reported a 63 cm distance from nut to bridge for his design; it is not a general scale-length instruction. His soundboard measured 2.6 mm, likewise a project-specific measurement.

He used five-minute epoxy to attach these components, but the bridge began separating under string force after about a month. He planned to repair it with wood glue and a proper clamp. That outcome makes his initial bridge attachment a reported failure, not a method to copy. For construction details such as joint preparation, bridge attachment, fret placement, and clamping, he points readers toward a dedicated guitar-building reference. Newsome named Build Your Own Acoustic Guitar by Jonathan Kinkead, which he borrowed from his local library; the account does not establish its current edition or availability.

Finishing the composite

Newsome filled gaps with pigmented epoxy, sanded the composite, applied another gloss coat, then wet-sanded through progressively finer grits and polished with auto-body rubbing compound. Trapped bubbles left some areas cloudy, and he accepted some blemishes rather than achieving a flawless surface. He used a cedar soundboard and added CNC- and laser-made inlays and artwork.

What the project shows—and what it does not

  • Shape depends on the layup. Mold geometry can open up different design possibilities, but tight corners may cause cloth to tent and require design changes or careful relief cuts.
  • A molded shell is only one part of the job. Flattening the body, fitting the soundboard, aligning the neck-related components, laying out the frets, and positioning the bridge still call for instrument-building knowledge.
  • Material claims need qualification. Newsome viewed carbon fiber as a way to make repeat builds more consistent and the shell less vulnerable to humidity than wood. He provided no comparative measurements, controlled acoustic test, or guarantee that a hybrid instrument’s joints are weatherproof.
  • Access affects effort and cost. He found the body-forming stage accessible to a beginner and faster than traditional body construction, but noted that carbon fiber is not cheap. His laser-cut mold was inexpensive because he had access to TechShop; he did not report a total project cost.

Safety while cutting and sanding

Newsome advised wearing gloves and a dust mask—or preferably a respirator—when cutting or sanding. He also warned that cured composite fringe can form sharp splinters. Choose protective equipment and handling practices based on the current safety documentation for the specific resin, cloth, and other materials you use; do not treat the precautions in a 2015 project account as a substitute for those instructions.

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