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Hey, you are using the photo I took of Zero Mostel when he visited my workshop and I refused to make him a zero fret guitar.
All that said... Zero frets dont harm guitars. I´ve tried a good many Manuel Bellidos that were nice guitars. I just believe they would have been equally good with a standard nut BTW, here´s a photo Zero Fred on his daily joyride.
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Zero frets dont harm guitars. I´ve tried a good many Manuel Bellidos that were nice guitars. I just believe they would have been equally good with a standard nut
Tomatito refused to have a zero fret on his 1990s Bellido. Gitanos are too hard for such things.
Rob
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The reason I am not interested in using zero frets is appearance. To me a Spanish guitar is a beautiful work of art, including its ability to make beautiful music. If it were just a mechanism for making music, then I would have no qualms about tweaking it in ways that would change its appearance to make it perform perhaps better. But adding a zero fret, to me, is treating it too much like just a mechanical thing, rather than a work of art.
The reason I am not interested in using zero frets is appearance
I kind of understand - I even feel the same way about sound ports. But I need to be careful that I don't close my eyes (ears?) to something that provides genuine improvement of a guitar. So for me a guitar should be relatively austere (no fancy bits), functional and with a tiny bit of originality that enables me to identify the maker.
Hey, you are using the photo I took of Zero Mostel when he visited my workshop and I refused to make him a zero fret guitar.
Did Zero fret over the fact that you would not make him a zero fret guitar?
Bill
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And the end of the fight is a tombstone white, With the name of the late deceased, And the epitaph drear, "A fool lies here, Who tried to hustle the East."
The reason I am not interested in using zero frets is appearance
I kind of understand - I even feel the same way about sound ports. But I need to be careful that I don't close my eyes (ears?) to something that provides genuine improvement of a guitar. So for me a guitar should be relatively austere (no fancy bits), functional and with a tiny bit of originality that enables me to identify the maker.
I love the cartoon of the kamikaze pilot, but I wish the rear view mirror was not in the illustration. They really had no need to know what was behind them, one way trip.
The bigger photo with the salvaged Zero, where is that from? The Kamikaze museum in Chiran Japan?
I love the cartoon of the kamikaze pilot, but I wish the rear view mirror was not in the illustration. They really had no need to know what was behind them, one way trip.
I think the rear view mirror was put in the illustration so that we, viewing it, could see the kamikaze pilot's eye's registering his evil intent, knowing that he was about to wipe out a few evil-smelling, white, red-haired Westerners.
While in Peleliu in the Palau Archipelago, and in Yap in Micronesia, I trekked into crash sites where Japanese Zeros were shot down and still rusting on the ground.
Bill
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And the end of the fight is a tombstone white, With the name of the late deceased, And the epitaph drear, "A fool lies here, Who tried to hustle the East."
Anders-- I'm not sure what offended you, either. When I express my aspirations as a guitar builder, I am in no way trying to influence what other builders do. There seems to be a much bigger market for copies of historical classical guitars than for the guitars that I make, but I have no interest in making copies of anything. I feel that the guitars that I make are unique within the set of rules I've laid down for myself, which have nothing to do with customers' wishes.
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