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Posts: 1708
Joined: Jan. 29 2012
From: Seattle, Washington, USA
RE: "Luthiers share your creati... (in reply to Anders Eliasson)
I like the contrasting binding. That's what I usually do, too, because I don't like Indian rosewood for binding or bridges. It's kind of a crumbly wood I've found.
Here's an Indian rosewood negra with Bolivian rosewood trim that I am building for a customer and which I will start to finish today:
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Posts: 1708
Joined: Jan. 29 2012
From: Seattle, Washington, USA
RE: "Luthiers share your creati... (in reply to TANúñez)
I use Bolivian rosewood for bridges, headplates, and bindings. It works nicely and finishes easily--and there is little problem with color bleed, though I seal bridges before gluing.
yes and I painted the leafes of the plant as well to make a pefect match of the color mix of indian rosewood and bloodwood. I also made sure that the little plant in the window had the same angle as the neck (fallo) giving the guitar more power and also that the bottle to the left has the shape of a luth, which is like the father of guitars giving you a feel that my guitars are all connected with our ancestral forefathers. The stone on the stairs is there to threaten you. It shows you that if you dont like the guitar, then shut up or I will throw that stone after you. I always do that when I take photos. Especially now that the lutherie section has turned so very commercial, all tricks work.
Anders, I like that Bloodwood binding on the negra a lot.
Here's a guitar I'm shellacking which exemplifies the opposite of contrast. "La negrita oscura" my customer is calling it. Indian Rosewood with Indian Rosewood bindings/no purflings. I kinda like the look..
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Ethan I know you've explained that method of bridge gluing but it still gives me shudders when I see it.. especially with those cams pushed that far. Yikes!
Ethan do you have some sort of supports inside the guitar when you do that? I get scared enough stringing up the guitar for the first time, I don't think my nerves could handle clamping the soundboard like that..
Posts: 1708
Joined: Jan. 29 2012
From: Seattle, Washington, USA
RE: "Luthiers share your creati... (in reply to Blair Russell)
Blair, Andy-
This has never been traumatic for me. I don't put any supports inside. Sometimes I even make the clamps tight enough to reverse the doming a little, and I've never had a problem--it always springs back nicely when I remove the clamps. It is very similar the the traditional method using rope and wedges.
Nice work everyone. I am french polishing the negra I showed above and it is exciting seeing it come to life.
(Anders, you should water the plant on the window sill.)
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RE: "Luthiers share your creati... (in reply to Andy Culpepper)
Andy, i would have made that negra withhout the centerpiece.. That way it would have been really dark. I agree with Estebanana, wide purfling/thin binding looks cool.
Thanks both of you. I agree, the bindings makes it lighter looking and more elegant (well, thats my taste) This with centerpiece or no centerpiece, I dont know what i prefer. Without centerpiece, the shape of the body is more present and the body looks rounder and fatter. In the steel string world, its pretty normal making backs without some kind of center ornamentation. Here´s a video of the guitar:
I´ve always used Daddario J45 on new guitars. Thats my reference string. It has a good price, its consistancy is very good and a lot of players use it. I dont think my guitars are very obsessive with strings. A good guitar should sound with all kinds of strings. The strings should be chosen in order to get the right feel and they can color the tone a bit. But its very personal.
RE: "Luthiers share your creati... (in reply to Anders Eliasson)
quote:
Thanks both of you. I agree, the bindings makes it lighter looking and more elegant (well, thats my taste) This with centerpiece or no centerpiece, I dont know what i prefer. Without centerpiece, the shape of the body is more present and the body looks rounder and fatter. In the steel string world, its pretty normal making backs without some kind of center ornamentation. Here´s a video of the guitar:
I don't really use a centerpiece anymore. I prefer the look of it without for the reasons you mention. How is your steel string coming along?
RE: "Luthiers share your creati... (in reply to TANúñez)
quote:
This thread is getting looooong. How about a 'Luthier's Gallery' section?
Yeah, I kinda miss the good old seperate building threads. It was easyer to follow. The steel string is slowly progressing. But it is progressing and I might finish it soon. It has some very special bindings..... There´ll be some pictures soon
Posts: 1708
Joined: Jan. 29 2012
From: Seattle, Washington, USA
RE: "Luthiers share your creati... (in reply to Andy Culpepper)
Yesterday my client came and got the negra I had been working on for him the past 5 weeks. Here are some pictures. Maybe I'll get a video of him playing it soon. He chose the Gotoh tuners with the bearings that prevent friction between the rollers and the wood. We really like them; they work great.
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The guitars that Ethan has presented here have had pale headstocks. I think all of them. Its not my style either, but I kind of like its lightness and the black rollers and knobs make an elegant contrast, giving it life. In the end its just a matter of taste. But this one I find to be well balanced and well thought out.
Posts: 1708
Joined: Jan. 29 2012
From: Seattle, Washington, USA
RE: "Luthiers share your creati... (in reply to Anders Eliasson)
Thanks for the comments guys. It never occurred to me that the wood for this headplate is light. I have deliberately used light wood on two others, though. This guitar has approximately the same color Bolivian rosewood for the bridge, headplate, and binding. Photographs, especially digital ones can be deceptive color wise. The above photo was taken with flash. Here's one taken without flash. Does it still seem light? (I feel like I'm asking, "Does it make me look fat?") These tuners with friction-eliminating bearings come only with black rollers--I suspect because the bearings are black.
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I think that if you are selling guitars to music stores then a darker head that matches the body is more acceptable for most companies. But then there are special considerations that call for different colors. Better ask the stores which color is best for them.
Does it still seem light? (I feel like I'm asking, "Does it make me look fat?") These tuners with friction-eliminating bearings come only with black rollers--I suspect because the bearings are black.
Yes, it still looks light compared to what i make, but as I wrote, I think it looks good and elegant. I noticed you light colored heads long time ago
The friction-eliminating bearings on my gotoh aluminio tuners with aluminium rollers are white... gee, I hope this is not something we have to discuss with our costumers, if they want white or black friction-eliminating bearings. Its already complicated enough with all the variety that there is out there.
Here's one taken without flash. Does it still seem light?
It looks awesome Ethan. I have always liked your the look of your headplates. Keep doing what you are doing man, you have a great eye for creating stylish designs.
Another take on contrasting bindings. Flamed Ovangkol sides and silver oak bindings on a steelstring that I´m slowly making.
It can be very attractive with light colored bindings. On American steelstrings its almost standard. I just dont like those white plastic bindings they put on expensive factory guitars. The normal wooden alternative is mapple and it can look pretty, but its very white, so this is just me looking for a more subtle contrast. The silver oak is a bit darker than the spruce soundboard, so it will give a bit of "framing" effect.
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Printable Version
Its already complicated enough with all the variety that there is out there. 
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