Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.
This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.
We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.
RE: "Luthiers share your creati... (in reply to Andy Culpepper)
quote:
ORIGINAL: Andy Culpepper
Hi there! I was actually going to shoot you an email soon, that the pegs are available now. Glad you are liking the guitar, if you change your mind about that the offer is still on.
Thanks, Andy, but I do think I am going to keep the pegs I have now. I don't want to sidetrack this cool thread with debate on this, but it is my opinion that mass at the headstock changes the sound of the guitar and I am just way too happy with it now to roll the dice on that one.
RE: "Luthiers share your creati... (in reply to slowpoke)
Hello Guys,
I want to share with you my last work, It's my 4th Guitar and I'm just a beginner (learning a lot from this forum, specially from Anders, Duke & Andy...etc).
RE: "Luthiers share your creati... (in reply to slowpoke)
2015 Stephen Faulk Classical guitar Indian rosewood and Spruce- Scale 646 Set of photos, by Blane Ebersold in Nagoya Japan - Sound sample video up soon.
Images are resized automatically to a maximum width of 800px
RE: "Luthiers share your creati... (in reply to slowpoke)
Some details:
The headstock is joined with a 'vee' joint and then veneered on four sides with rosewood, exposing the Hinoki wood core inside the tuner slots. The tuners are Swiss made Schertler individual tuners. They are the tuners I also use on my seven string guitars.
This guitar has a slightly shorter body length to accommodate scales lengths between 630 mm and 650. The body is length on this model is variable from 18-1/2" inches to 19-" depending on scale.
The bracing and over all model is based on a mix of Hauser family ideas, mainly being the parabolic or "airfoil" shaped high braces. This basic design gives a clear stable guitar that plays evenly though out the whole tessatura. A good recording guitar. It's deceptive as well because under the ear is does not sound as powerful as it is, but it projects well.
Images are resized automatically to a maximum width of 800px
RE: "Luthiers share your creati... (in reply to slowpoke)
The decorations are all themed from the colored bevel cut "braid" or rope of the rosette. It's carried out on the tail dart, heel cap, tie block of the bridge and the center strip of the head stock.
The head stock of this model was created with the center strip in mind. It has an arched finial design instead of a cut out or point. I felt the point finial I use on flamenco guitars does not serve the center strip decoration well because the decoration has to end in a point. I think it clashes with the center strip. So I kept my flamenco design distinct from this classical design.
Right now I'm building four models, my own 7- string design, a Torres model based on a modestly appointed First Epoch Torres, my Flamenco model informed by deep study of Spanish Mid 20th century work and the Classical shown here. The classical format is also going in the double top direction, but likely keeping the same outward design which will get more refined as it goes. The Flamencos are more of my love of Santos and Company, nothing more, nothing less.
The basic Torres model is $3600.00- The flamencas and this classical are $4600.00 and special orders and 7-strings start at $4800.00 and anything else custom is up for discussion.
Images are resized automatically to a maximum width of 800px
RE: "Luthiers share your creati... (in reply to slowpoke)
Lost & Found Sound
A 2012 Flamenco Port Orford Cedar back & sides - spruce top. This video of David McLean and palmas courtesy of Clara Rodriguez was taken right after the guitar was made. This one is owned by a Foro member on the West Coast of the USofA. David and Clara are two of the San Francisco Bay Areas top performers who have an ongoing monthly show in Oakland in addition to being asked to perform locally and tour on a regular basis.
This one is a bit 'thicker' sounding in person, this was recorded on an iPhone. There is a negra/rosa in this style for sale in the US at Brune's shop in Chicago area if you want to check it out in person.
Here's me demoing the one now at Brune's, kind of a sister to the one above but built maybe year and half apart. I like the way it attacks. I lost those stupid glasses when they dropped in the water on a fishing trip. They looked stupid so that was good.
RE: "Luthiers share your creati... (in reply to slowpoke)
This is the Torres model, and before you have a cow, yes the back strip is 2.5mm off center, this one is discounted 200.00 for that and is selling for $3400.00
This model is a modestly appointed guitar made in the spirit of the blanca Cypress classicals made by Torres. The way the back of the neck is transitioned into the head stock is more like Torres than on most Torres models which get that detail wrong. The rosette is clear and straight ahead, but my own design grounded in traditional Spanish work.
The body is small, 18-1/2" in length, and the scale is 640mm. Despite the small size the sound is big, sweet and round, and curiously has a bit a of flamenco growl. The body is 3-1/2" deep at the tail.
I'm making this one in the same way Torres would have made it, but I have also made this model with Hauser bracing with great results. I would also build this one with full details and complex bindings if someone wanted it. However I enjoy the pared down no frills 'just the facts' Joe Friday approach of making this one. It's not an exact bench copy of a specific Torres, given the chance I could produce one, but this guitar model is in the spirit of Torres' FE and SE instruments that were made with unselfconscious assurance and grace - and a little funk here and there.
The player is Shouhei Osumi and he has a degenerative eye condition that has reduced his vision considerably. He can only see very large text and some light, but at this point he is legally blind. Shouhei lives in Nagoya City Japan and he used to be a very fine baseball player, but when his vision trouble began in this early twenties he took up guitar more seriously. He learns by ear now because he can't see well enough to read sheet music. His intuitive knowledge of the fingerboard is astounding and he can pick up a jazz tune pretty much as fast as you can play the melody for him. He'll hear the melody and you can sketch out the chord structure and he'll get the rest of the chords with inversions and extended chord scale ideas in 5 minutes.
I like to joke that how my guitar looks does not matter, well not to Shouhei, he is really a blind tester. All the fussy malarky that goes with how guitars look as a bias against how they sound goes right out the window here. He is also a really nice guy who likes to eat Mexican food, and this is what prompted me to give him the nickname 'Tacochan'. He plays by himself and in a couple of groups, one of the situations is one half of the guitar duo with guitarist-composer Blane Ebersold ~ who is an 'American in Nagoya'......( rimshot please)
And since I rarely post in this thread I think that wraps it up for me for several months, or until I finish my next Ukulele.
RE: "Luthiers share your creati... (in reply to estebanana)
Wow!
What a spectacular guitar. I love the colorful and angular dart tail theme through out the design. Nice how just a little touch of primary color blends in well. The two tone angular joint where the neck meets the headstock is a nice touch too.
My initial impression was maybe there is a northwest native American design along with a feudal era budo Japanese influence. Whatever inspired you, it works for me.
Also, I like the headstock angle, the 12-hole bridge, the compensated saddle and the Swiss tuners. Great practical features. IMHO
RE: "Luthiers share your creati... (in reply to slowpoke)
Thank you Rick, Yeah that one is ok, I worked to to get it not look Spanish, more French - German and middle European. It's possible the marquetry could go into more Japanese patterns, there is mind blowing marquetry done on small wood boxes in Japan to inspire motif. Lot's of people have said my decorations have a Native American vibe, I've looked at lots of Navaho blankets, but the decorations also look like Anatolian kilim. As long as they remind some one of something good it's ok with me.
The format of the matching decorative elements on the tie block, head stock, tail dart, heel cap etc is all pretty standard stuff. I'll make this model with the appointments keyed off the theme of the rosette so it all goes together. The smaller body is important too, I have narrowed it down for a reason. The next step is to make these with cedar/balsa/spruce double tops I've been experimenting with.
I really like the Swiss Schertler tuners, perfect for guitars with more than seven strings, the alternatives are either unsightly or prohibitively expensive. This model could have high end three on set tuners too. I like the oval shaped gold base and it was meant to play off of the dark veneered sides of the head stock, but the player can have any tuners they want.
Probably not of interest to strictly flamenco players, but seeing that many players cross over in other kinds of music it's good to show everything. Still waiting to hear how the Nagoya boys recorded with it.
Here are some Japanese boxes:
The are made so the veneer is one panel that it glued down. Not a bunch of tiles inlaid as separate pieces. They make the block by gluing it all together in sections, then glue the sub sections together and they end up with a big cube of laminated parts. Then the crazy mind blowing part is they take one plane stroke to pare off a thin even layer of the cube and that makes that panel of complete veneer.
There are probably videos on Youtube, but I have seen it done. The problem with putting that on a guitar is that a little goes a long way. Some makers over load the precious cargo of decorations and we don't want that.
Images are resized automatically to a maximum width of 800px
RE: "Luthiers share your creati... (in reply to estebanana)
quote:
they end up with a big cube of laminated parts. Then the crazy mind blowing part is they take one plane stroke to pare off a thin even layer of the cube and that makes that panel of complete veneer
RE: "Luthiers share your creati... (in reply to slowpoke)
Those boxes are really beautifull but I agree that because something looks good on a square box, it doesnt nescessarily look good on a guitar. The same with perfection. Perfection is almost always boring to look at IMO and thats why these overcomplicated and "perfect" factory made rosettes are boring IMO. I just looks like something that has been spit out by a machine somewhere in Asia.
Very highly elaborated guitar there Stephen and a lovely very personal handmade rosette (classy). Not all is my taste, but thats not interesting because its only my taste. So hats of for the pro work and the effort. (where´s the hats off smiley?)
RE: "Luthiers share your creati... (in reply to slowpoke)
Stephen, that's a unique and beautiful guitar. Love the "fully encased" headstock.
I'm looking for 7 string tuners and I'm curious where you get sets of 7 of the Schertlers, if you don't mind my asking. StewMac only sells them in sets of 6.
RE: "Luthiers share your creati... (in reply to Andy Culpepper)
quote:
Stephen, that's a unique and beautiful guitar. Love the "fully encased" headstock.
I'm looking for 7 string tuners and I'm curious where you get sets of 7 of the Schertlers, if you don't mind my asking. StewMac only sells them in sets of 6.
Thanks, and P.S. your inbox is full
Thank you and I'll clear the inbox.
I bought an extra of Schertler set of tuners and used only the bass side tuner out of that set to get the 4th bass side tuner. So that lasts for three seven string guitars.
When you divide the cost of the set by three and add that cost to the price of one set of tuners it is quite reasonable in price to put together a 7 string set. You just have to build three of them or more to get your full moneys worth. I've gone through two sets dedicated to pilfering the bass tuner and I have one bass side tuner left ready to make a seven string.
The advantage is that if one of the treble tuners ever fails, you have a spare to give to the customer, and if one of the bass tuners ever fails you can just buy another full set and give them one and still have two tuners left for new guitars.
I've been very happy with the Schertler tuners. I think they are the best tuner until you go with expensive custom tuners by Alessi or Rodgers and top of the price range tuners. But I even doubt the high end brands are better really and for a working guitarist the ability to replace a failing tuner for a small repair price is a big plus.
I think most players buying guitars with more than seven strings are serious players and not really collectors focused on expensive hardware like high dollar tuners, so the Schertlers are my choice. On the first two seven strings I used cut up Gotoh gears, which works fine and also the individual tuners from Gilbert. The Gilberts are good too, but stylistically I have never liked them and they are twice the cost of Schertlers and I can't honestly see any structural advantage.
Needless to say it was a happy day when they introduced the the classical guitar line of Schertlers.
RE: "Luthiers share your creati... (in reply to slowpoke)
I cleaned out my entire Sent and Inbox save for one long message from Ron M. in which he admonished me to keep my nose clean, don't argue with "punkters" and never get married.
RE: "Luthiers share your creati... (in reply to slowpoke)
Have you asked any of the tuner makers if they can supply with a 7 string set? I recently did a 10 string and got the tuners made for me by Robson tuners. They are expensive but worth it! I also did an 8 string and got Rubner to make an 8 string set. These were alot cheaper and came in around £80 if I remember correctly. So it doesn't have to be expensive.
RE: "Luthiers share your creati... (in reply to slowpoke)
My Dad and his good friend, who are 80'ish took up Lutherie as a hobby this year, and one of the guitars they built was a Flamenco based on R.E. Brune's Santos plan which they built for me, and I just finished French Polishing.
Jeff
Images are resized automatically to a maximum width of 800px
RE: "Luthiers share your creati... (in reply to slowpoke)
Thanks, the French Polishing was a bit of a learning experience, but in the end not so difficult. I brushed on several base coats of shellac, sanded it back, then ended up hand rubbing a bunch more layers. Then I finished it by wet sanding it with 600 grit, then 1500 grit 3m wet/dry paper, and rubbing with Swirl X 2.0. I have a MicroMesh set, BUT I don't like it very much. The plain old wet dry paper feels better to me. I used Walnut Oil from the art supply as a lubricant for the shellac application. I like it, and the shellac cured to a pretty tough finish. It seems harder than when I experimented with Olive Oil ...
It sounded absolutely horrible for the first couple days, and very muddy and boomy. Dad didn't say anything, but I could tell he was not pleased. Then as if by a miracle, the top made a magical transformation, and went from dull and thuddy, to crisp and bell like. It sounds really nice now.
It's a Spruce top with Port Orford Cedar back and sides, the string height is 3mm at the 12th fret on the bass side, and the height above the top between the bridge and soundhole is right at 9 mm. The set up is very precise. Dad's friend who worked with him is a retired aerospace machinist, so more than a few parts were made on a Bridgeport Mill, which might be blasphemy, but it works. The top is about 1.9 - 2 mm thickness, and while tap tones, finger feel, and witchcraft were used for guesstimating the right thickness. Lack of experience left it to random luck.
I have three other guitars, two Pedro De Miguel's, and a Vicente Carrilo, and while I may be a bit biased I feel I like this guitar the best. It is VERY light weight and feels good to play.
Most likely the reason it sounds good, is because it was built very precisely to the plan, and while that doesn't replace experience it took it a long ways towards a good sound.
If I come up with a decent sound sample I will post it.
RE: "Luthiers share your creati... (in reply to slowpoke)
Oh, also I'd like to thank Ander's for taking the time to answer my questions in email at the beginning of the project. We bought several plans, but the Santos plan seemed a good choice and was the one which was used.
Being 55 and playing a guitar my 80 year old Dad made, I must say is a pretty good feeling :) It feels a lot better than any guitar from a factory, that's for sure.
RE: "Luthiers share your creati... (in reply to slowpoke)
The picture of two old friends working together, is a good, and accurate picture.
A couple funny incidents happened as well, since they are both very precise workers they agonize for hours over minute little details. They set up Paul's Bridgeport Mill and bored all the holes for the tuning machines. With a precision of about .001 tolerance. I came over and was looking at the guitar, and realized they had reversed the tuners, and put the left side tuners on the right, and the right side on the left .... So if you look closely you can now see the equally carefully repaired holes with neatly glued in plugs.
RE: "Luthiers share your creati... (in reply to slowpoke)
Hehe!
A good point to be meticulous about roller holes. Some are not made precisely (without use of a jig) and it can badly ruin tuners function. In fact to my experience that seems to occure not too seldomly.
If your tuners rollers have bushings friction and beveling can somehwat be compensated with, but it sure is best to have those holes in the headstock set accurately. -
Besides, the mixing up of sites and kind of similar gross accidents when fiddling with something, typically seem to happen to me when I have given special care to smaller details. Life appears to like such ironic jokes and I think I can relate to that.
Printable Version
New Messages
No New Messages
Hot Topic w/ New Messages
Hot Topic w/o New Messages
Locked w/ New Messages
Locked w/o New Messages
Post New Thread