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RE: "Luthiers share your creati... (in reply to ralexander)
Some solea compas on a new Palo Escrito guitar. I need a hair cut and lots of guitar lessons, but I did the courtesy of shaving my 4 days of stubble before presenting this guitar.
RE: "Luthiers share your creati... (in reply to estebanana)
quote:
ORIGINAL: estebanana
Some solea compas on a new Palo Escrito guitar. I need a hair cut and lots of guitar lessons, but I did the courtesy of shaving my 4 days of stubble before presenting this guitar.
I like how it does rasgeo.
Stephen, I hear it and I like it but I think that temporary tap plate is taking a little away from its true tone, which should be very propio sello when it is permanently attached, Bravo!
RE: "Luthiers share your creati... (in reply to ralexander)
I just finished this "cedar" guitar... Western Red Cedar top and Spanish Cedar back, sides and neck. The bindings and headplate are Bubinga and the bridge and fingerboard are some nice aged Honduran Rosewood.
The sound exceeded my expectations and I think Spanish Cedar is a great back and side wood.
Here's a video with some Malagueña-ish stuff. I've had requests to play some softer passages in my videos so I tried to do that here:
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RE: "Luthiers share your creati... (in reply to ralexander)
When I saw your post on the "Today´s post" list I thought to ignore it this time, as the impression was too predictable, lesser even about taking the hazzles of launching a VPN that tends to throttle my CPU, so that one has to reboot ... et al.
But today with little of pulling news on the board I couldn´t tame my curiousity about the Luthiers´creation thread.
This guitar looks plain beautiful to me. I like that tone-sur-tone appearance! It looks in the way of an old ( and dusted) make like say a Ferrer or such. - And in view of perfect completion with the rosewood fretboard: If my experience with only a small number of non-ebony stuffed necks is being actually related to the material, then we might have a deliberate trend before us for alternatives to ebony. ( The experience being that fretting on softer woods seems to feel and work out better. - I know that other players share this sensation as well.)
And the sound, though the guitar being a bit out of tune: Nasty old bum on his cursing way through Spains midday heat. Hoarse, and raspy, but not thin, very full sound.
Congrats, Don Andy! :O)
Ruphus
PS:
I have only one objection with your styling. That is the heel cap. You round it at the pointing edge, about the thickness of the cap laminate. That eventhough accomodating ergonomically ( should one occasionally be bumping into it) disturbs my muddy eye in terms of design.
RE: "Luthiers share your creati... (in reply to Ruphus)
quote:
And the sound, though the guitar being a bit out of tune: Nasty old bum on his cursing way through Spains midday heat.
That's another nice description. I want to start compiling these Thanks for stopping in. I used to not really round the edges on the heel cap, but I decided at some point that there shouldn't be any unbroken edges on a guitar.
Thanks Stephen and miel.
The Spanish cedar was light and quartersawn so I didn't see any reason why it wouldn't make a nice flamenca. I want to try Spruce back and sides at some point but I think it would be difficult to bend.
You might want to ask my wife about those sideburns...
RE: "Luthiers share your creati... (in reply to Andy Culpepper)
quote:
ORIGINAL: deteresa1 I want to try Spruce back and sides at some point but I think it would be difficult to bend.
Nice sounding guitar Andy.
Re: spruce back and sides I works fine, I've built several over the years. I always use a bending iron and didn't have any trouble bending either Engelmann or Sitka. If you want a really light guitar try Western Red Cedar for the back and sides.
RE: "Luthiers share your creati... (in reply to ralexander)
My third instrument this year after an 7 year break form building (kids to bring up etc) - its a cedar top, sycamore back and sides padouk bridge and ebony fretboard. It's heading to my wife's local school to their music dept. (pro bono) hoping to populate the local schools in my area with decent standard free guitars.
RE: "Luthiers share your creati... (in reply to ralexander)
First of all, hat off to your generous action!
I think the shading of the padauk to be looking great, and would had liked to see it as veneer on the peghead too. And the pegheads crown might not win a Milanese design award, unless the jury be comprised of cubical Goths.
But that is just visuals which are subjective anyway. My definite admiration for the considerable philanthropic engagement!
Ruphus
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RE: "Luthiers share your creati... (in reply to ralexander)
I saw that brace asymmetrically placed under the top. And with me thinking to remember that in case of asymmetrical bracing with guitars, mostly the treble side will be enforced / the bass side rather left lose ... I thought maybe on this violine the basses were meant to be on the right side.
But as your reply indicates already, I was speculating wrong.
RE: "Luthiers share your creati... (in reply to ralexander)
quote:
I was speculating wrong.
yes Rufito. On a violin, underneath one leg of the bridge, you have a bass bar. The one you can see. Underneath the other leg you have the soundpost. Its fitted when the violin gets its strings on. Its a round 5,5 - 6mm thick spruce stick, that stands between the belly and the back of the violin and connects the 2 parts. The sound post transports the vibrations from the belly to the back. Now you can speculate a little bit over that.
RE: "Luthiers share your creati... (in reply to Anders Eliasson)
quote:
ORIGINAL: Anders Eliasson
yes Rufito. On a violin, underneath one leg of the bridge, you have a bass bar. The one you can see. Underneath the other leg you have the soundpost. Its fitted when the violin gets its strings on. Its a round 5,5 - 6mm thick spruce stick, that stands between the belly and the back of the violin and connects the 2 parts. The sound post transports the vibrations from the belly to the back. Now you can speculate a little bit over that.
Hah, so that speculation was not that wrong after all! Now, that I learned about the sound post and with that about the higher rigidity that it ought to be lending to the treble side ... Things conform to the basic knowledge underlying my speculation. -
You insert that stick after assembly / finish ... ( How do you get in there?) Next speculation: Because you can determine the individual / exact tension with the length of the stick?
RE: "Luthiers share your creati... (in reply to Ruphus)
quote:
You insert that stick after assembly / finish ... ( How do you get in there?) Next speculation: Because you can determine the individual / exact tension with the length of the stick?
You have a special tool for meassuring the distance between the belly and the back at the correct place and another special tool for putting it in. And trust me, it tends to tilt and it can be troublesome to get it out again. A violin has a button fit in a hole in the endblock. This you take out so that you can have a look in and see if the soundpost is fitted correctly. If not, with special tool number 2, you can push and drag until it hopefully sits right or you can use the tool to make it tilt and start all over again. Dont take all the strings off at a time. It releases pressure and the the soundpost might fall... And here we go again. Lots of fiddling on violins.
RE: "Luthiers share your creati... (in reply to Anders Eliasson)
Wow, that is really large-scaled procedure; and it was a pleasure to learn about such an interesting detail that was completely unknown to me. Thanks a bunch, Anders! :O)
RE: "Luthiers share your creati... (in reply to ralexander)
Violin building is absolutely a largescaled proces and its for very patient persons only. It takes a long time time to build a violin. The plates are handcarved both inside and outside and while the spruce goes pretty fast, the highly figured maple is tough to work on. Later, making the scroll also takes some time and is purely cutting very small pieces of wood with very sharp gouges. But it is a very satisfying instrument to build. Especially when you play it yourself. There´s so many years of culture in the violin family.
RE: "Luthiers share your creati... (in reply to ralexander)
I am not the biggest fan of this instrument ( rather embracing the chello which I dig a lot), but was just Friday thinking of how I miss that kind of fiddle Scarlet Rivera used to play for Bob Dylan. Also like it in folk and ragtime arrangements.
And, no wonder, killer virtuousity in the Paganini style.
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