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RE: "Luthiers share your creati... (in reply to Edzard)
It splits me into appreciating and bewildering at the same time. Sure like the colours (what is the red wood? How did it work out for the bridge?) and admire the very own design, but the headstocks look a tad too slim to my individual taste. They narrow head will also allow for less strings friction / angle behind the nut. Why is the low E wound up the other way around?
There also is a slight waist in the necks round around third fret or so, is that with purpose?
RE: "Luthiers share your creati... (in reply to Edzard)
They look great! That maple looks beatifull, And what are your thoughts about working with Padouk for the fingerboard? I love padouk for the back and sides thinking about trying it for the fingerboard and bridge. What´s with the bridge design?? Any special reason..? Looks heavier than normal bridges to me.
RE: "Luthiers share your creati... (in reply to Edzard)
Thanks Guys for your comments and critique. It’s much appreciated.
I’ve only build a few guitars before. These 4 were more an exercise to test some new build procedures for me (neck attachment with a spline, building with a disk/form and not on a solera) , get some experience with building in batches (never again) and testing a few finishing products (Liberon Oil, French Polish (normal and 2 with Hard shellac).
The red wood is Padouk. It’s light, hence the use for the bridge. All bridges are around 16 to 19 gram. When sanding you have to take care that the dust doesn’t remain in the top wood when you start finishing. Other than that it’s works fine/looks great with some (lemon) oil. Some people are allergic to it. I found it had a pleasant almost chocolate like smell.
The bridge design on 2 of the guitars are from (the late) John Gilbert. I like the “modern ”design and with a Proxxon BF40 Mill/Drill system are relatively easy to make. I added small tubes in the 12 holes to prevent cracking (happens sometimes) and is also not an idea of my own.
About the headstocks.. What can I say. I like the long kind of lute style. Work in progress I suppose. I’m a great admirer of the luthier Steve Klein. He had something like I had in mind but, of course, much beter executed.
The neck is also made of maple. The form is adapted from a classical guitar I liked. It’s straight without any waist (if I understand this remark correctly). Maybe a sight error on the photo.
After 5 years of playing I’m still not confident to make a decent recording. I will see if I can find a willing victim…
RE: "Luthiers share your creati... (in reply to Edzard)
Edzard, very nice color combinations there. I'm dying to use a Padauk bridge on a flamenco but most customers so far don't really want the look...
Here is a Brazilian style 7 string guitar that I built internally as basically a 7 string flamenco. The customer wanted to use local/North American tonewoods so the back and sides are local Cherry, the neck and accents are Walnut and the fingerboard is Hickory. I actually have a Walnut and a Hickory tree growing in front of my house. The top is Englemann Spruce. The tuners are made by Scheller - super luxury! I'll make a video soon playing some flamenco (no tap plate though).
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RE: "Luthiers share your creati... (in reply to Edzard)
That thing looks so pretty that even for first time, though of more than six strings, it won´t disturb my orthodox eye. Great how the lovely tie-block inlay corresponds to the rosette. And the final shaping is just excellent! - And your photograpy has definilty advanced too.
Looks like coming from an earl´s inherited casket to be handed over to the next playing generation. Like a real gem.
Why is the fretboard width tapered towards the soundhole? To let the top breath / to avoid too much of dampening?
What about neck overweight / neck-body balance with hard wood? -
Tell me, Andy, as I´ve been trying to describe that kind of `magnifying eveness´ to you in the past ... And always thinking how it´s a pity when really fine axes go without. ... Noticed that unique controlling with Schellers?
RE: "Luthiers share your creati... (in reply to Edzard)
Thanks Ruphus! Tapering off the fingerboard under the 7th string is something I've seen on some Brazilian guitars, and I liked it because otherwise the wide FB can dominate the rosette too much for my taste.
The neck really doesn't weigh that much more, partly because the Hickory is a bit lighter than Ebony, and also the Walnut isn't terribly heavy. Certainly quite a bit lighter than Indian Rosewood. It also carves really beautifully with nice sharp tools.
Whenever the budget exists for really fine tuning machines I get warm and fuzzy inside because they're so much nicer to use. These tune smoothly and accurately going both up and down. I swear they keep the guitar in tune better, because after you set them they don't creep back a nanometer
RE: "Luthiers share your creati... (in reply to Edzard)
Yes, I liked the sound too. And the lowest string ain´t exactly weak either.
I remember a post of mine (think it was in the former AG forum) where I suggested that some day there might be a retract from tropic woods, and that it may not necessarily be turning out too bad either.
Don´t recall exactly the replies, but the mates sure weren´t too consenting.
This guitar seems to prove that many woods can do, and that it is rather depending on what the builder makes of it. Olé!
RE: "Luthiers share your creati... (in reply to Edzard)
Sound sample of a model I'm offering made of Hinoki, much like the series of Port Orford guitars I made. The Hinoki is a cousin to Port Orford and it is native to Japan. I have a source for aged Hinoki that I have resawn into guitar sets.
The Hinoki guitars in this price tier are $3400.00- They are cleanly made, uncluttered in detail, each with a unique hand made concentric circle rosette. They utilize quality Hinoki back & sides and spruce tops. I can make these either as classical or flamenco guitars, but this one seems to bridge the gap between the two ways of classifying guitars. Remember before the 1950'-60s a guitar, was a guitar, was a guitar and not so much worry was put on whether it was flamenco or classical. These guitars that I have been making over the years with this philosophy harken back to that time, many players and dealers have commented on the way they resemble and sound like the guitars of the 1920's to 1950's that I have studied.
I'm also making contemporary seven string, flamenco and classical models, but I keep this older style going because I think they have a lot of allure and history.
The guitars I'm making can be made with wood that is completely Lacey Act compliant, in other words none of the species of wood in these instruments are import- export flag raisers so one can travel or ship with them with confidence and proper paperwork. I've carefully researched sourcing woods which are high quality for instrument making, but are also abundant non endangered species that are as sustainable as possible. I'm also working with limited rare woods, the regular Cuban cedar necks and the Indian rosewoods which are managed for instrument making purposes.
Currently working on a rosewood cutaway guitar for a customer in Japan, and a Romanillos inspired open braced classical made of Hinoki, at a higher price level.
And the chat going on here about the time being right for rethinking the species of woods we use, right on target.
RE: "Luthiers share your creati... (in reply to Edzard)
Interesting to read of Japanese wood used. Back then, before the Chinese took over the top rank with lumbering primare forests in the world, Mitsubishi was the international leader in that realm, feeding its mills for the Japanese demand on paper, which is still first in the world with wasting paper. (Everything bein wrapped on and on as disposable treat.)
The irony, according to the SPIEGEL then, in the same time was that lumbering was striktly forbidden in Japan itself in order to preserve the national woods.
Either that was not all of truth or they must have changed policy. Can you tell, Stephen san?
Ruphus
PS: While at primare forests ... Can you guys believe that unspeakable stubborness, better to say utter idiocy, displayed in that mentality in Indonesia, with that yearly havoc? There have been similar dimensions of catastrophy all the time there, and they still do it over and over again, for the f***** oil palm tragedy.
Cursed was the day when someone found out about pressing fruits of that tree. And much more the day when insanity of our days turned to producing gas even of contemporary bio mass.
RE: "Luthiers share your creati... (in reply to Ruphus)
quote:
The irony, according to the SPIEGEL then, in the same time was that lumbering was striktly forbidden in Japan itself in order to preserve the national woods.
Either that was not all of truth or they must have changed policy. Can you tell, Stephen san?
Nonsense, whoever wrote that is uninformed. 80% of Japan is mountain areas full of trees and they log carefully, but they take a great deal of wood domestically for building homes and infrastructure. Most of Japan is uninhabitable because the interior is full of steep mountains and trees.
Now there is a moratorium on cutting old growth forest, but most modern countries have that as well. The biggest trees in Japan were cut many centuries ago to build temples and castles. When those supplies became rare and less easy to acquire is when the craft and art of complex locking joints for creating large beams out of several small beams was perfected. There are still large trees in some areas, but they are protected. But the common forests of Cedar and Hinoki that are thick all over the interior are logged regularly or domestic use. Houses here are commonly built with woods that are not expensive or rare. Mainly domestic Cedar which grows like a weed. The Amazon basin woods called Ipe and other general iron wood species that are so popular in the US and Europe are not really used here. I've never even seen any in any lumber yards.
As far as packaging waste is concerned, Japan is a model country for recycling. You would not believe the methodical and tedious ways one must pack ones trash for recycling. There is a poster on the kitchen wall in our house which explains how different items must be grouped and bagged. If you don't pack the recycling properly they won't pick it up! My shop trash has to be sorted into three kinds of waste and that is easy. And I don't really see any more use of packaging here than any other modern country.
If you want to know more you can start a topic on this in the Off Topic section.
RE: "Luthiers share your creati... (in reply to Edzard)
Thanks for the appreciated info, Stephen. Worth considering though that recycling, though better than nothing, won´t compensate for wasteful use. (And while the product requires constant adding of fresh cellulosis, remains from toxic print ink won´t allow a use such paper all around.) - Yet, I wished there was only a fraction of that recycling overe here. You should have seen that face from the supermarket guy, just half an hour ago, when I had to repeat three times to NOT wanting my stuff bagged in these darn platic bags that are cluttering the country and the oceans. Everywhere, where I am new customer those silly faces like: "What? He does not want a fancy bag for those two items!?" With that I am like a green manikin from Mars here. Makes you wonder whether the news about the universe not twisting around the planet has come around already. -
I checked your video, Stephen, and would like to friendly point out that the recording quality won´t do it justice, if not be counter productive. It is muffled and midrangy, making it appear as if the guitar was slow. So much so that when I pulled out the ear phone plug, with the sound then coming from the thin sounding speakers of the LCD, only then did it convey a somewhat close image of how the guitar actually sounds. Could be the room building up through close reflections, but it sounds quite as if the recorder wasn´t suiting in the first place.
As I learned from takes presented on the foro, the iPhone does a good job. Assuming you have no such dang, I would borrow one from someone around next time. The foregone efforts to build such an instrument must be worth asking such favor, even if possibly relcutantly, I think
Anyway, it´s been nice to see you, man! - I am overdue to getting me glasses too, since a while now. (Sight alternating between just fine and sometimes obviously blured.)
RE: "Luthiers share your creati... (in reply to Edzard)
I deserve so much more than comments about my out of style glasses and old camera. I really do. But this is not a generous crowd. I think it's time for me to be moving on.
Posts: 1708
Joined: Jan. 29 2012
From: Seattle, Washington, USA
RE: "Luthiers share your creati... (in reply to estebanana)
I like the rich tone of this guitar, Stephen. Some of my favorite guitars that I made had Port Orford cedar backs and sides. I've never seen Hinoki. Your playing here is really nice.
RE: "Luthiers share your creati... (in reply to estebanana)
The professional sharing on this list should be taken with an understanding that not all list members have an understanding of what professionalism is.
Many people see this as an interesting POV without any reservation or appreciation of how long and hard the walk we make to get to the place of being able to share what we know.
However, there are those of us who have been there and done that for many years, who appreciate what you do. Bravo!
RE: "Luthiers share your creati... (in reply to Edzard)
The crowd is not generous indeed. Not just on the foro, but in general theses days. And you actually just as well, Stephen. (Just look at how many positive comments of me can be found in this thread alone, while I don´t recall any appreciative ones of yours.) -And in no way was I thinking that your glasses are out of style, instead findig the whole of presentation very sympathetic. Just the more feeling what a pity it was that the guitar couldn´t be heard nearly as much as it should.
However, I am perplexed by the reaction to my comment that was sincerely meant as supportive to having your product auditioned adequately.
More even am I surprised by the guarding out of all of Ethan and Tom, who personally with my reflections on their builds should specially be aware about my enthusiast appreciation of fine luthiery. (Huh, Tom? Maybe like to do a search here and on the old AG forum about dealings between the two of us; then come back and talk out of all about lack of appreciation. More even in times when some would be down-playing on you and your product. Either must you be joking or memory be fading on you.)
And technically it is beyond me how Ethan hears a richt tone in a sound file that is substantially compromised in itself.
But I could be mistaking. Keep using the same gear for capturing guitars. Maybe people hear rich sounds in there.
RE: "Luthiers share your creati... (in reply to Ruphus)
quote:
(Huh, Tom? Maybe like to do a search here and on the old AG forum about dealings between the two of us; then come back and talk out of all about lack of appreciation. More even in times when some would be down-playing on you and your product. Either must you be joking or memory be fading on you.)
Ruphus,
I was talking in a general term, not about your person, as I find you to be very fair in your assessments.
I expect people to be ignorant of my art and years spent to perfect it, and very little comes from people in the know, about truly great instruments.
Posts: 1708
Joined: Jan. 29 2012
From: Seattle, Washington, USA
RE: "Luthiers share your creati... (in reply to Ruphus)
quote:
And technically it is beyond me how Ethan hears a richt tone in a sound file that is substantially compromised in itself.
Honestly, Ruphus, Stephen--This video/audio sounds great from here. One of the best sound qualities I have ever heard in a Youtube video. And the sound of the guitar and the playing, especially the classical part, sounds so nice that while I heard it I was thinking that it is good for just listening to music for enjoyment. There is a special quality to the sound that reminds me of great guitarists from the past when things weren't so rushed. Maybe there is a technical issue with your equipment, Ruphus my dear friend. I hope you sort it out if there is.
RE: "Luthiers share your creati... (in reply to Edzard)
Rather detailed comments on audio auditioned through the same setup and commented on the foro indicate the quality of gear I am listening through.
Tom for instance once was astouned how I reflected that a player´s fingernail in one of his mp3s was missing, which as he confirmed had indeed broken off.
The noise floor alone in above recording is huge, let aside the overall sonics like through a blanket. Making me assume that to the contrary your setup might be levelling in in ways that brings everything down to the videos sound discussed here.
If this one seems like one of the best sounding on YT to you then there ought to be something wrong with the gear.
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