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Post by Deleted on Mar 3, 2020 11:47:09 GMT -6
Seems there are trolls all over the place these days. Sometimes I confront them, and ask them to show me their work. They never do or they put up fake pictures and try and claim that they did the work. But after a few questions you will find out they don't know anything.
I even caught one guy using my pictures and telling people that he made the guitars. LOL! But yes there are so many so called "experts" on everything. But these "experts" don't have a clue on what they are talking about.
The true experts have a way about them that are willing to help not tear down.
Now I have met a few "experts" that can get mean and nasty... But for the most part a lot of them are helpful.
EB
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Post by antares on Mar 19, 2020 15:14:34 GMT -6
I suppose this is better than creating a new thread and it is related to my guit fiddles. I noticed today that my Yamaha SA2000 does not have any internal kerfing at all. Since you went to a deal of trouble to make and install kerfing on that 335 Dane I thought that might interest you?
Continuing with the subject of kerfing, my Sobell acoustic does have internal kerfing but it is not slotted, rather it has been formed from plain strip to match the guitar profile up and down as well as around the curves. Given that neither the top or back are anywhere near "flat" and the sides are consequently significantly wider at the end pin than they are around the bouts, it's all the more impressive to me. There's a great deal going on when you start to scrutinise that instrument.
e&oe ...
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Post by dnic on Mar 19, 2020 18:37:00 GMT -6
Yes Steve, solid linings are more work of course because they have to be bent to fit the body. I'm sure kerfed linings came into fashion with factory production type situations. Although folks with heat blankets and side bending machines are a little ahead of the game. I also suppose solid linings are a hold over from earlier times and instruments like violins and that whole family of fretless instruments.
As for your Yamaha, it must have relatively thick sides to accommodate binding and still have enough glue surface for the top and back.
As for my 335 I used kerfed lining because that's how they were made at Gibson. But I have no inclination to use solid linings even when I build my next 335 or an acoustic guitar I have in the wings. I'm not sure what the rational is for solid, if there is supposed to be better "tone" or if it's just esthetic. Like we just sit around with dental mirrors in the sound holes of our guitars. The one acoustic guitar I made I used reverse kerf which puts the kerfs against the sides and they are not as obvious when looking inside.
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Post by antares on Mar 20, 2020 2:19:49 GMT -6
I imagine my guitar probably has reversed kerfing too Dane?
As for Dental mirrors, somewhere on Stefan's site (or it might have been a quote from Martin Simpson?) there is reference to Stefan exhibiting one of his creations at an American guitar show, and the high end makers were crowded around it with dental mirrors shaking their heads and tutting that "You shouldn't build guitars like that". But at that show, one of those exhalted luthiers purchased a guitar from Stefan ... As far as I know that person remains unnamed.
Stefan formulated his approach to building as a development of making dulcimers as a diversion from cabinet making, and carried on alone without the influence of others universally worshipping at the alter of Martin. Not everyone likes his guitars, but then they are brutally revealing of technique. They have an extremely well balanced response right across the fretboard and normally only needing a single mic, recording engineers love them.
No connection with the company except as a satisfied customer etc etc.
e&oe ...
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Post by antares on May 5, 2020 10:03:50 GMT -6
Well I've been looking a bit more closely and rather than a rectangular section the kerfing seems to have the internally exposed corner rounded off close to nothing. This means that unless it is slit-sawed at a jaunty angle on the hidden side and the cuts don't break through to be visible where the rounding off finishes, then it must be solid. I guess anyway. Given that there is a noticeable difference in the body width from the bouts to the end pin area, it must be profiled to shape as well as following the profile width? Mine doesn't have an end peg, nor a heel peg, nor a pick guard for that matter. Suits me fine.
The little stripe infill that runs vertically down where the end pin would normally be is in fact a "flattened off diamond" in shape with the two wedge shaped points sitting in corresponding "vee" grooves cut into the two side panels. This makes it structurally sound beyond reliance upon adhesive. In addition, the top and bottom of the infill are both shaped to an arrow point and these points set into the formed to shape Tulip wood binding. I imagine that even more work went into the binding than the kerfing?
The (one piece wenge) neck set is quite complicated with a number of laminations and cross pieces. I did post an image of it on here a long time ago but I expect PhotoChucket has nuked it by now. Some would say the design is over complicated, but I imagine Stefan has his reasons and I would certainly not cavil with them.
The foregoing is only offered because I know that anyone repairing and building guitars from scratch would recognise the attention to detail.
e&oe ...
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Post by dnic on May 6, 2020 7:40:43 GMT -6
Sounds like solid linings alright. Something that production line type building does not allow time for. Even what are now considered high end guitars (to my knowledge) have always used kirfed linings. Martins, Gibsons, Taylors and so on. Does it make a difference in sound?... The only instrument that I have worked on with solid linings is that 100 year old violin that I'm rebuilding, still.
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Post by antares on May 6, 2020 12:13:15 GMT -6
I know what you're thinking about the potential for dubious benefits Dane- like an elephant in a closet it cannot be ignored and I really couldn't say whether any given element influences the sound, but the guitar sure sounds good. I look at it this way- I (very occasionally) get my old squeezes out of their cases and play them and think "you know this is still pretty good actually" and then I pick up the Sobell again ...
e&oe ...
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Post by dnic on May 6, 2020 21:00:41 GMT -6
I guess the moral to the story is never play a guitar you can't afford because that could ruin your other guitars for you. I have experienced this more than once but the worst time was when I played and older Santa Cruz OM size. The Santa Cruz came in for some crack repair which Brazilian rosewood guitars are plagued with. It had a fairly pronounced V neck and played and sounded beyond amazing. It was for sale and I have lusted after that guitar for years now, but at about 4K it's way out of my reach.
It's really great Steve that you were able to obtain your dream guitar.
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Post by antares on May 7, 2020 1:38:32 GMT -6
It's odd how priorities can change over time. Lots of folk would have a hissy fit spending forty bucks on a "guitar" for their little enthusiastic offspring, or $250 on a Pacifica (or whatever) for a teenager, then you get addicts that will fork out $400 or more for a Warmoth neck alone and so on.
With my guitar, I was smitten after watching Martin Simpson play around 2002. I decided that I would have one one day come what may, and when the "right place right time" episode of happy circumstance arrived, I got a rather large discount too due to a very minor flaw. Lots of makers would not sell a sub-standard product but the flaw had to be pointed out to me and the investment in both time and dwindling raw materials justified it. The price wasn't really a consideration because I planned on getting one with the tax-free cash lump sum that we can take with our pensions.
As it happens, Martin Simpson subsequently secured an endorsement from PRS with a "signature" model. I saw him at a tiny club in Twickenham, West London just as he had done that. I could tell it wasn't a Sobell from the sound alone, but it had a cutaway and Sobells do not so far as I recall. I later learned of the PRS deal. The PRS guitars will be made to the same exacting standards as their electric range, but although it can only ever be subjective, I'm here to tell you that in pure sound terms they are not so beguiling to the listener. They are far from being low grade instruments and I suspect that they will improve, but from the time I heard that PRS under Martin Simpson's golden digits, they were "nice try- no cigar". Part of Martin Simpson's "sound" is down to his mastery of sound reinforcement with acoustics. Given that technique, and the fact that I noticed the difference when he began to tout the PRS underlines the difference in my view. Sadly it's just a business deal. I wonder what he strums at home or even in the studio ...
The way I look at it is if you are set fair to hemorrhage a packet on such an item, say it costs $900, spending $1000 or even a bit more is irrelevant because you've already committed to silly money and at that point counting the pennies becomes a bit moot. I am well aware of Eddie's thoughts on this sort of expenditure on guitars, but for me I totally forget that cost when I play it. Best Beloved agrees too in fact she pushed me into it! What a gal!!!
I write these words not for bragging rights- it's nothing to do with the cost, I do so just to raise the profile sufficiently that should anyone come across one then a little light will come on and they'll not walk on past in a long line of equally deserving guitars. It's probably fair to say that folks on here might not otherwise have heard of this maker? If you do encounter one one day, you'll notice because it'll be the guitar with no name on the headstock!
e&oe ...
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Post by dnic on May 7, 2020 7:31:19 GMT -6
Steve, I remember you saying before that your wife was instrumental (see what I did there? Pun intended) in the purchase of this guitar. And I would say "what a gal" indeed!
I would love to here you play it sometime.... Even your phone would do the job
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Post by Deleted on May 7, 2020 8:59:12 GMT -6
I am in the market for a new acoustic guitar. I sold my last two right before we moved. That money was spend on all the moving and surviving.
But now I want to get something else. I hope to get one in the next month or two. But I don't want a Martin, Taylor or Takamine. I want something else. So tired of the same thing over and over again. I don't want cheap as well. No more $100.00 guitars.
I have been looking at Guild, but can't seem to find that one that sings to me. I have seen some others that are in the price range I would like to spend. But, it's been hard to get to and play them because of the virus lock down. I am hoping that things will start to lift by the end of the month, so people can get back to what we do.
But anyways... If you had up to $1,000 to spend on an acoustic guitar what would you be looking at to buy?
EB
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Post by antares on May 7, 2020 12:08:26 GMT -6
Guilds are very very nice Eddie, I know because I have a Tacoma built F512. I don't think you'll get a USA built Guild for under a grand though. Y'all know I'm a Yamaha fan boy. A budget like that might just net you a nice hand built Yamaha. What sort of body shape are you thinking of? Dread, Orchestral, Grand Concert, Jumbo, Parlour / Parlor? It's a broad church ...
e&oe ...
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Post by Deleted on May 7, 2020 17:36:28 GMT -6
Guilds are very very nice Eddie, I know because I have a Tacoma built F512. I don't think you'll get a USA built Guild for under a grand though. Y'all know I'm a Yamaha fan boy. A budget like that might just net you a nice hand built Yamaha. What sort of body shape are you thinking of? Dread, Orchestral, Grand Concert, Jumbo, Parlour / Parlor? It's a broad church ... e&oe ...Most of the time I like the Dread with a cut away. But I have been looking at some Concerts and Parlor guitars. I too have liked Yamaha guitars over the years and have owned a few. For me I don't want to keep buying the same thing over and over again. I have worked on to many Taylor's and Martin's to know that is not what I want.
I have seen only a few used Guilds in my price range, but it's hard to go look at them at this time. I have never owned one but have played a few in my time.
I am really looking for something that is not being played by so many people. Something that some people have over looked. I know there is something out there. I'll come across it sooner or later. I'll keep on looking around.
I did find a nice PRS acoustic. But again I have never played one and trying to hook up with the guy has been hard because he won't respond back. LOL!
EB
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Post by Deleted on May 7, 2020 18:25:52 GMT -6
Ok here is one in the running.
This like has a video of the guitar. I like it a lot!
EB
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Post by dnic on May 7, 2020 19:43:14 GMT -6
The Guilds I've played have been very solid kinda thick guitars. I read a lot about Guilds during a neck reset I was doing on one. They say they hold up very well on the road because they are built on the heavy side. That was regarding the American built ones I don't know much about what coming out of Korea. The fit and finish on the Korean ones I've seen has been very good but I worked on one, acoustic hollow body with pickups, that the switch wasn't totally soldered in and it sounded like fret buzz.
Eddie, I know you said you didn't want Martin but think about a 60S 000-18. You could get a beat up one for maybe 2,000$. I've worked on a few of these oldies and they sound really good to me. Thinner sound than a big box but still very good.
I can't the link for the Koa Washburn to work. just sayin'
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