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Lester Devoe New Rosette (2014) . The American maker Lester Devoe which according to a lot of people at present would be one of the best Flamenco guitar maker . Yes beautiful Rosette Flamenca ...
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RE: New Rosette Lester Devoe (in reply to Andy Culpepper)
Andy,
My teacher Rolf Eichinger never used a back reinforcement unless there were veneers in the centre strip.(Veneers have a habit of splitting under stress.) His opinion was that a perfect joint between the two (or three) pieces of wood was stronger than the wood and also that glueing something straight along the grain could cause deformations or even cracks along that edge. When I started working with him I spent quite a few years working that way and never had a problem. https://www.lasonanta.eu/en/catalog/product/gallery/id/272/image/10061/ Some of you know that I am a staunch traditionalist when it comes to methods of working and I have gone back to the reinforcement. As with so many other things that are discussed and argued endlessly, if makers have been doing it one way for centuries it is very often the best way. The have experimented (just as we do) and discarded the things that don't work.
RE: New Rosette Lester Devoe (in reply to johnguitar)
quote:
As with so many other things that are discussed and argued endlessly, if makers have been doing it one way for centuries it is very often the best way. They have experimented (just as we do) and discarded the things that don't work.
I agree with you in part but I have seen some traditional things that can be improved, but not to diss traditional POV, as I hold strictly to tradition as well.
Kerfed lining as opposed to solid lining is an arguable point, as well. Laminate lining is also argued.
Lattice top work is actually gaining favor with some Spanish makers, although not as a front item.
Actually, Spanish makers have done many experiments over the years to where, if I were to judge it, I would have to say nearly every design in this art has been influenced by Spain.
RE: New Rosette Lester Devoe (in reply to johnguitar)
quote:
Andy,
My teacher Rolf Eichinger never used a back reinforcement unless there were veneers in the centre strip.(Veneers have a habit of splitting under stress.) His opinion was that a perfect joint between the two (or three) pieces of wood was stronger than the wood and also that glueing something straight along the grain could cause deformations or even cracks along that edge. When I started working with him I spent quite a few years working that way and never had a problem. https://www.lasonanta.eu/en/catalog/product/gallery/id/272/image/10061/ Some of you know that I am a staunch traditionalist when it comes to methods of working and I have gone back to the reinforcement. As with so many other things that are discussed and argued endlessly, if makers have been doing it one way for centuries it is very often the best way. The have experimented (just as we do) and discarded the things that don't work.
That's interesting, thanks. I can see how that would work fine, especially on a back with no decorative center strip. My own feeling is that it adds very little weight or stiffness, but it can help prevent against different types of wood from having a little disagreement, if you have Rosewood glued between Cypress for example. With optimal joinery, well seasoned wood and good humidity control on the finished instrument I'm sure there would never be a problem, but the latter at least is not always the case.
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