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Copyright ©2012. All Rights Reserved. Reproduction in whole We are also evolving as a company and on the
or in part without written permission is prohibited.
following page, will outline these changes.
Issue 2
Published by: T.TAN Terence Tan,
Editor.
Photograph/ Art Work: K. Ryan, T. Tan, A. Emery, T. Klassen, C. Oliver, J. Howlett, K.
Miller, J. Kostal, J. Elliott, R. Eriksson, D. Wren, K. Barnett, J. Oliphant, A. Kimata, R.
Kraut, S. Saville, B. McElroy, T. Shimo, D. Scannell, H. Fleishman, P. Woolson
LESSONS
Celtic Guitar Masterclass with Anton
Emery: Celtic Backup 40-44
FEATURES
Guitar Anatomy 6-7
Honduran Mahogany 9-10
The Tree Mahogany 12-13
SPECIAL FEATURE
Kostal Modified Dreadnought 14-22
All instruments Ryan Dragonfly 24-29
featured in
this issue Elliott Steel String Model 30-33
are feature Wells The Atlantic 34-37
highly figured
Mahogany Breedlove OM Revival 38-39
from “The Mauel McCloud 45-48
Tree”
Miller Dreadnought 49-51
Kraut Modified Dreadnought 84-85
Saville Small Jumbo 86-90
McElroy Standard 94
Shimo Sugilite 95
True North Guitar Model 1 96-99
Fleishman 100-102
Woolson Ukulele 103-104
REVIEWS
Little Man 91
Songs About Something 92
Acoustic Bossa Nova 93
KNOWLEDGE
Guitar Anatomy - Headstock
Headstock Veneer:
A decorative and structural
slice of wood layered over the
headstock. Usually a hardwood
such as Ebony or Rosewood.
Headstock Inlay:
Decorative inlaid element over
the headstock veneer. Usually
a contrasting material such as
shell, wood or synthetics.
Tuner post:
Cylinder of hard wearing
material acting as an anchor
for the strings to be wound
& tension applied as the
post is rotated. Usually
made from metal
Headstock Binding:
A decorative and structural
strip of material inset into the
perimeter of the headstock.
Usually a contrasting material.
Glossary of terms (from top to bottom):
KNOWLEDGE
Laminated neck:
A combination of multiple slices
of wood glued with the aim of
providing greater strength and
stability. It is also a more efficient
use of material than a single
piece neck.
Rear veneer:
The back of the headstock is
also where some builder choose
to apply a veneer, known of a
Backstrap or a Rear plate. In
this case, the back is left bare
to highlight the lamination.
The extra veneer on the back
is considered to provide extra
strength to the area,
Tuner button:
Provides grip to work the
tuning machines. Usually a hard
wearing material such as plastic,
wood, bone or shell.
Tuner plate:
The metal slab which is attached
to the headstock. This provides
the post and the gears an anchor
point.
Quick Facts
Scientific name: Swietenia macrophyllia
Trade names: Mahogany, Honduran
Mahogany
Janka: 800 approx.
Uses: Back and sides. veneer
Bling factor: Chatayonace and curl is
uncommon
Availability: Good
CITES status: Listed in appendix II.
A Mahogany guitar Natural History
from Chris Oliver of
Infinity Luthiers. This
set displays a brilliant Honduran Mahogany has a native range from south
Chatayonace and curl Mexico to the upper Amazon in Peru, Bolivia, and
figure. Chris has kindly
made available us the
Brazil. It grows to 45 metres tall, 2 metres in truncal
photos in this article. diameter.
Status
Physical properties
As a tonewood…
“Where rosewood guitars can be thought of as having a “metallic” sound, mahogany ….guitars are
better described as sounding “woody, although the harder, more dense examples … can take on
some of the characteristics of the rosewoods.”
Availability
Plantations should ensure supply for the near future, although old growth timber is now on the
CITES appendix 2 and trade is now limited.
SPONSORS
We wouldn’t be able to produce this magazine without their
generous help. Please take a moment to view their services!
Maker of
Concert
Classical
Guitars
rod@capperguitars.com
www.capperguitars.com
TONEWOOD
The Tree Mahogany
Swientia Macrophyllia
The Maya Forest is a lowland tropical rain forest boasting 375 plant species found nowhere else on
earth. It stretches from the Caribbean coast of Mexico, through Belize and into Honduras and the
Peten region of Guatemala.
In 1965, within the heart of this jungle, a group of loggers came across an exceptional mahogany
tree. Measuring 10 ft wide at the mid-trunk and 50 at the base, it had a spiralled back. This was a sign
the wood could be highly figured. The loggers camped at the base of the giant and felled it with axes.
But they were robbed of their prize by fate. On the way down, the tree twisted and landed in a steep
ravine. Two D7 tractors were brought in to extricate the fallen tree, but to no avail.
So there it lay until 1971 when a sawmill owner called Robert Novak heard of the giant figured
mahogany tree. In 1983, after some searching, he found the log. The tree was halved then quartered
with the resulting eight pieces were dragged, carried and floated for 200 miles to a steam powered
bandsaw mill.
Novak outbid several veneer manufacturers to saw the logs into timber. The cutting operation lasted
12 days and yielded 12,000 board feet of lumber of which one third was a blister/quilt figure, another
third had a waxy quilt figure and the remaining length, a combination of the two. This wood was air
dried to 35% on site then kiln dried in Miami. Half the shipment was sold direct from Miami and the
other through Handloggers Hardwood in California
A lot of interest was generated through Mark Berry’s article in the September/ October 1985 issue
of Fine Woodworking. Mark, now a noted Classical and Flamenco luthier, had purchased wood for
several projects during his time in a woodworking firm.
Today, boards of this striking tonewood continue to be sawn and used by firms & luthiers such as
Breedlove guitars, R Taylor Guitars, Brock Poling and Ken Miller. Miller has worked several sets of
the tree mahogany says “it’s more brown than red and is denser and stiffer than usual for mahogany.
It sounds closer to rosewood than mahogany.”
This Issue of Guitarbench is dedicated to this remarkable tree. It is our hope that the beautiful
instruments made from this natural wonder can bring greater awareness to the plight of it’s
descendents. Together, we can ensure sustainable, healthy forests.
Welcome to the first instalment of the Celtic Guitar Masterclass here at Guitarbench.
This month, we are going to look at topic very near and dear to my heart, Celtic backup.
When playing rhythm the guitar plays a secondary role, accompanying a melody
player. This is usually with a flatpick, but a hybrid pick and fingers approach, or even
fingerpicking, are sometimes used. You will want to refer to the pdf sheet music to follow
along with the chords. The sheet music is at the end of the article.
There are many different ways to back up Celtic tunes, and no one way is absolutely
correct. In the end it comes down to supporting the melody player. Listen to how the
melody player drives the tune, where the rhythmic accents are, and try to emphasize
those with your rhythm playing. Playing with a good backer feels effortless, like the music
is just floating along. Playing with someone that does not understand the lilt and rhythm
of the music makes it very difficult for the melody players.
There are a variety of tunings to choose from when backing Celtic music, and these vary
from player to player. Rhythmic powerhouse John Doyle is best known for his propulsive
work in Drop D. Daithi Sproule of Altan used DADGAD almost exclusively. Dennis
Cahill uses Standard tuning to employ his jazzy and understated style. Ged Foley uses
CGCGCD, often with a capo at the second fret.
I like to use CGDGCD, or the Orkney tuning, which is very similar. To me, the open
tunings create a more droning approach, while with standard its easier to find jazzy
voicings. I do not think any one tuning is better than another, it just depends on the
sound you are looking for.
The format is the opposite of bluegrass, where So let’s go ahead and look at the tune, The
the chords are fixed and the melody is open to Mountain Road. It’s a simple reel in the key
interpretation. In Celtic music, the melody is of D, and is a good place to start with rhythm
generally fixed and the chordal players are free playing. You can use simple chords, or more
to harmonize the tune as they see fit. complex variations, as we will see in later
articles. We will look at some chord choices,
As a rhythm player you can take a very and also rhythmic considerations with the
conservative approach, utilizing just the strumming hand.
obvious chords, or it can get much farther
out, using different choices each time through First, you must know the key of the tune. If it’s
the tune. Let your ear be the judge, and be not a tune you know, the best bet is to quietly
sensitive to what the melody players want. drone on a bass string note until you find the
key. Celtic tunes are usually fairly straight
I generally like to use a fairly thin pick, usually forward, and often in the key of D, G, Em, or
1mm or less. When I play rhythm I am usually Am. Once you have found the key of the tune,
trying to hit all the strings at once, and want even just droning on the root chord can be
a little more zing and presence to my attack. effective, while you listen and try to figure out
I will often some sort of palm muting on the the other chords. Sure, it may not be the most
bass strings. exciting thing, but at least it works with the
tune, and later on you can expand what you are
It’s different from bluegrass or other types of playing.
rhythm playing where you are doing more of
a bass and then strum approach. There are Major key tunes like the Mountain Road often
exceptions of course, but when most folks revolve around a I, IV, V chord change, or the
backup Celtic music they are hitting all or a “three chord trick” as I have heard it called. In
majority of the strings together. the key of D, that gives us chords D, G, and A.
I will use the Orkney tuning with a capo at the
second fret. Folks can use that, or transfer these
ideas to their tuning of choice. Here are our
chord voicings:
Remember these are all with a capo at the
second fret. I tend to play modal chords a lot of
the time, leaving out the third. The D chord is
a nice big one, letting you strum across all the The Mountain Road uses the D, G, and A
strings. For the G chord we are just using the chords where indicated. In the B part, I have
three bass strings. I like to employ some palm chosen to start it with a B minor, which
muting on this one, and try to keep a relatively darkens things up a bit. That is probably the
light fretting hand touch, or else the strings most common chord substitution in Celtic
seem to go sharp. The A is music, using the relative
another nice big chord, just minor in place of the I
make sure not to hit the 6th “Celtic music is dance chord, in this case, a B
string. The B minor is an minor instead of a D.
easy chord, leaving the 1st music, and at its core,
and 6th strings. Technically rhythm is the most Celtic music is dance
I think its a Bm7 chord, but music, and at its core,
it works well in this context. important thing. ” rhythm is the most
All in all those chords are important thing. As the
pretty easy, and I don’t guitarist you need to keep
think they will pose any trouble for folks. rhythm above all else. The best way is to
For now I am keeping the chordal choices to listen to a lot of good rhythm players, and
those four, though feel free to experiment. A try to emulate and absorb what they do. It is
good way to do this is to list the chords for hard within the context of a written article to
a given key, and just try them all in various describe right hand strumming patterns.
places. Your ear will tell you what works. For
the key of D we have: One thing I try to do is listen where the
melody is accenting the beat, and try to
D, Em, F#min, G, A, Bm, and C#dim. emphasize that with my strumming. I am
also strumming on other beats, but generally
I will often play the F#min as a D, with an F# it is with a lighter up/down motion. Take a
in the bass, and the C#dim as an A, with a C# listen to the flute and guitar tracks to hear
in the bass. an example. Two patterns I like to start my
students off with are below.
On the first one you are strumming down on the beat, and up on the “and” of the beat. On the
second one you are dropping the “and” of beat one. These two strumming patterns usually get
my students going, and then from there we tackle it on a tune by tune basis. This technique is
something you learn more by listening and doing.
Putting it all together take a look at the sheet music and indicated chords, and listen to the slow
and faster mp3 of flute and guitar. Try to especially pay attention to where I accent the rhythm
on flute and how the guitar emphasizes it.
Playing Celtic backup in a hot session where the music is just flowing is such a great feeling. You
are providing a solid rhythmic foundation for the melody player(s), and get to contribute your
own chord substitutions and variety to spice things up. Practice these techniques on some of
your favourite tunes, and next month we will take a look at some more variations, chordal sub-
stitutions, and techniques.
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13
“This is guitar serial #128, completed August 2009. This is unique in that it features the “Voyage
Air” folding neck joint as developed by my good friend and fellow luthier, Harvey Leach. As such, it
represents probably the world’s “most unique travel guitar”. During construction, a sound port was
added per discussions with the
customer.
Specs
Body: McCloud 4.25” body depth
Back Wood: The Tree Mahogany
Top Wood: Port Orford Cedar
Rosette: Green abalone
Cutaway: Venetian
Binding: Cocobolo
Top Border: Ebony/cherry/ebony multiples.
Nut Width: 1.75”
Neck Shape: Mauel w/VoyageAir hinge
Fingerboard: Ebony
Headstock: The Tree mahogany overlay
Bridge: Ebony 2.25” string space
Tuners: Gotoh gold w/ebony
Nut/Saddle: Fossilized ivory saddle only
End Graft: Flamed koa
Bridge Pins: Fossilized ivory
Electronics: K&K passive
Case: Hard Shell & VoyageAir bag
Thanks Terence! How did I get into building? Well, I had played guitar since public school and in
high school became more involved in art … painting, sculpting etc … so when my father saw Irving
Sloane’s book on guitar building, he thought it might fit my interests. I can distinctly remember just
being dumbstruck when I realized that a person could actually build an instrument. Guitars were
built by huge companies like Gibson and Kent as far as I was concerned (this was the late ‘60s and I
hadn’t even heard of Martin at the time). The thought that an individual could fabricate a guitar was
a real revelation! This was of course pre-internet and I had never even
heard the term “luthier”. “I have absolutely
Shortly after receiving the Sloane book, I discovered a night school no idea what Jean
course in guitar building being held at a nearby high school. I signed
up and volunteered to try and source out the woods that we would saw in me that
need. Through the Toronto Folklore Centre I found out that there was a made him think I
professional builder in town by the name of Jean-Claude Larrivee.
was up to the task.”
This would have been in the early ‘70s when Jean had a shop on
Bridgman Ave, with Jim Hale (formerly of Mossman), and apprentices
Grit Laskin and Sergei de Jonge. When I went to pick out the wood, I only have vague memories of
a friendly guy with really long hair pointing at a stack of wood and saying “no problem, pick some
wood out and we’ll work something out”. That was my first contact with the man who would teach
me everything I know about guitar building.
“Definitely my
influence at the
start was ALL
Larrivee”
A 12 string Koa concert. The signature Wren inlay is at the 5th fret.
Would you be able to briefly give us a run of
the unique tonal properties of the various
topwoods you use?
David, when you speak of Alpine spruce, you are referring to European spruce?
When I said European spruce, I should have specified German or Czech spruce ... as opposed to
Alpine spruce (found in the upper elevations of the Alps) or as opposed to Italian spruce (found in the
lower elevations of the Apennine mountains). I find that the late-summer growth rings on German
or Czech spruce to be quite prominent, which I think adds substantially to the cross-grain stiffness.
The Alpine spruce that I’ve been getting has a slightly less prominent late-summer growth ring, which
seems to make the top slightly lighter weight for the same deflection.
There's a move towards figured woods these days - even figured tops. I understand some folks
like bearclaw figure in their tops- how about yourself?
I've grown to like the look of bearclaw figure. I remember Jean Larrivee showing me a top that
Edgar Monch had given him before he moved back to Germany in the early '70s. It was absolutely
riddled with bearclaws and Edgar considered it a very special top. He told Jean to make a guitar for
his son with it. At the time I remember thinking that it just looked weird, but I quite like the look
now.
Some builders feel that tops with bearclaw figure have a better stiffness-to-weight ratio, but it's hard
to generalize like that. I know that some suppliers resaw their bearclaw spruce slightly off the quarter
because it shows off the figure better. This of course reduces cross grain stiffness though. Honestly,
when it comes to judging a piece of topwood purely for responsiveness, I just close my eyes, flex it,
tap it, scratch it ... and make a judgement based on my 37 years experience. I don't think about what
the species is, or how much figure there is at that point. As a builder, you really have to develop that
visceral connection with your wood.
And how about that wildly figured Brazilian rosewood we've been seeing recently?
The wilder looking Brazilian is possibly a result of the fact that even the old stumps of trees are being
harvested and resawn into back and side sets. I've seen quotes from a few builders that indicate
that this wood is also inferior sounding, but that hasn't been my experience. I've still got some
old-growth quartersawn Brazilian, as well as some that was cut in this decade that is figured, and
the tap tones from both examples are exceptional. I've had great results from both quartered and
figured Brazilian. I'm quite discouraged from the stories coming out of both South America and
Madagascar with regards to the uncontrolled harvesting of hardwoods, and won't be buying any
more Brazilian or Madagascar rosewood though.
With regards to finishes, I understand you’re using French Polish exclusively these days?
Yes, I’m using shellac applied with the French Polish method exclusively these days. Sergei and
Joshia de Jonge are the masters of this technique and they graciously taught me not only their
methodology, but gave me their recipe for making the shellac as well. This involves dissolving shellac
flakes and three different resins in pure alcohol and then boiling the mixture three separate times.
This makes the shellac last almost indefinitely (just dissolving shellac in alcohol gives a solution with
a shelf life of around 6 months) as well as making the final finish more durable. French Polishing
takes around three times longer than a standard nitro lacquer finish, but the gains in response from
the finished instrument make it very worth while. This finish can be applied in such a thin film that
there is almost zero damping factor ... allowing the guitar to realize its full potential.
Another concert model, this time in Indian Rosewood
I see. I understand you've offering a few The third model currently, is the little NL-1
models, would you like to give us a run down ... which has turned out to be an ideal little
of your current line up and maybe the tonal recording instrument. My friend Michael
qualities you are aiming for? Francis (who has probably done more recording
dates than any other guitar player in Canada)
Probably the most popular model is still the has one on order. That little instrument really
Concert. This is being built out of the same does like a microphone! I've also got plans (and
mould that I made thirty-five years ago but is a orders) for a slope shouldered dreadnought.
much different instrument today. This model
has a full 16" lower bout dimension but with a And how about those sound ports?
tight waist and small upper bout that makes it
feel more compact when you hold it (especially The first soundport that I ever saw or heard of,
when the Manzer Wedge is added). This guitar was by Sergei de Jonge and I have to say that
has possibly the most prominent bass response in my opinion it is the single most important
of my guitars, but is still very balanced with design element to have emerged in my career.
regards to bass/mid/treble projection. Not only does it throw significantly more sound
up at the player, but if designed properly, it
With all that I've learned over the last thirty- doesn’t seem to diminish the forward projection
five years, plus the addition of the side port and of the instrument at all. Not only that, it gives
a thin French Polish finish, the new Concert the builder more flexibility to fine tune the main
has really come into its own. The model that is air resonance (ie. by cutting the appropriate
really starting to get my clientele excited is the sized side port after the box is closed). I have
Remuda. I designed the aesthetics of this one heard some side ports that had very little
with a retro/vintage sort of vibe, but the sound positive affect on the instrument, but others that
is very modern, with lots of girth on the note really greatly improve the overall response of
fundamental but with many overtone layers and the guitar.
again, a very even overall tonality.
I see, so you can actually influence the tone Once the top and back are glued on to the sides
of the guitar once the box is in place by of the guitar box, you can determine the main air
placement and size of the soundhole? How is resonant frequency, and then with experience,
that done? add the appropriate sized side port to achieve the
air note that you are after.
Any enclosure or container has a main "air"
resonant frequency. If you blow over the mouth You would think that with a certain model
of an empty juice bottle, you'll hear a note. If of guitar, the internal air volume would be a
you partially fill the juice bottle with water constant and always be the same, but all of the
(reducing it's internal air volume), that note resonant frequencies are "coupled" and interact
raises in pitch. The other element that affects the with each other. For example, if you utilize a
internal air resonant frequency is the size of the very stiff redwood top to colour the tone for a
aperture (or apertures). specific player, its tap tone could well be higher
than a Sitka top, which would drag the air
frequency up in pitch.
Just sticking with soundports for the moment- If I had to quantify it, I'd say that I get an
does the shape of the soundport affect the extra 5% of apparent volume from the player's
tonal qualities it imparts? Also I have noticed standpoint, with no loss of frontal projection.
that not all sound ports are equal- some have
a Tornavoz like cylinder others are simply, a I see I see. I know Al Carruth has done a bit
hole.... of research into matching the mode of the
neck with the body resonance- is it a similar
Different builders seem to bring different concept?
things to the table when it comes to side ports.
Personally, I don't get my best sound with a It's a similar concept just in the fact that it is
segmented port (ie several holes creating a important to think of the guitar as a "system"
design, or a simple louvred concept), but I know whose components are "coupled" or affected
other builders who have had success with that by each other. The trap that you don't want
type of aperture. For my instruments, the oval is to fall into is to start thinking of the different
by far the most effective. components of the instrument as separate
entities.
Thanks for explaining that, David. I was wondering if you had
much thoughts into bridge material which is split into the bony/
rosewood camps?
I've noticed you offer just a few models now compared to some
dreads and jumbos and parlors in the past- is that an evolution of
your building?
I actually offer three models, the 16" Concert model that I've made
for thirty-five years, the new 15 1/4" Remuda model, and the little
13 3/4" NL-1. I was going to expand the line from that, but within a
few weeks of re-launching my guitar building career, I received orders
for these three models that will take me two years or more to deliver!
I do actually have an order for a small 12 fret parlor like the one I
made Joan Baez, and for a slope shouldered dreadnought. I still have
my old square shouldered dreadnought mold as well as a couple of
jumbos and Orchestra Model shapes. I'm starting to leave some spots
in my build schedule so that I can have some fun with different body
styles.
And to what extent do you think the body shape/size has on the tone?
Between extremes like my 13" NL-1 model and my 16" Concert, there is a huge difference in the
bass-mid-treble balance, as well as an overall power difference ... and I also hear it quite dramatically
in the midrange response. I also find, and this is yet another generality that should be taken with a
grain of salt, that guitars with tighter waists have a more complex overall tonality which sometimes,
if not often, manifests itself in the prominence of the overtone component.
Thanks for that David! I was wondering before we let you go if you had anything exciting on the
horizon ?
As corny as it sounds, every guitar I make seems exciting to me. It seems that all of my customers
want something quite different which really helps keep things fresh for me. I’ll be developing a slope
shoulder dreadnought for a commission and re-visiting the guitar I made for Joan Baez on request
from another customer ... it’s all exciting for me at this point!
T H E I N T E R V I E W:
K R I S B A R N E T T
Lutherie was a very natural and almost certain This was definitely the motivation I needed to get
progression for me. I have played guitar since things moving. I practiced building for several
I was a child and it is the one hobby that has years part time and have moved to full time for
endured for all of these years. The guitar has the past 2 years or so. I have never worked in a
always intrigued me. The sound is very alluring guitar shop and have never really done repairs.
and almost enchanting. It is weird because I I am completely self taught which definitely has
always knew I was going to build at least one its pros and cons. I had to reinvent the wheel
guitar in my life, but I never dreamed it would be many times I’m sure, but I learned a lot through
my life’s work or that I would embark at such an the process of trial and error and was very free to
early age. find my own way.
I had it in my head that I was going to build my I am sure the process would have been much
first guitar in retirement, after my career as a smoother if I had previous woodworking
mental health therapist came to an end. I have experience or if someone could have shown me
always enjoyed building things, taking stuff techniques that I was having problems with early
apart, working with my hands, and I have always on. It was definitely very challenging at first, as
been very inquisitive about how and why things can be attested by my earlier instruments, but I
work the way they do. am improving on each and every instrument and
constantly experimenting with new ideas.
I have to say that I noticed a few unusual
construction techniques you use- es-
pecially for nylon strings… maybe you
could let us in on your build philoso-
phies and comment on the tailpieces and
sound ports….
If something works well, I will continue with it on the next guitar, but maybe change something else
to see what happens. With the exception of two instruments produced for a duet, I have never made
two identical instruments. I am always changing something..
The tailpiece made a lot of sense from a physics standpoint and I have never heard of a classical
guitar with this type of setup. The weight of the bridge can be reduced significantly because I do not
need a large gluing surface since the pulling force on the soundboard is greatly reduced. The sound-
board has less mass and can therefore vibrate more efficiently. The result is a more immediate sound
and a more robust tone. I am not sure what the physics say should happen with the tailpiece, but
these are my own observations. I maintain the traditional break angle of the strings so it still sounds
like a classical guitar.
“Sometimes
rationality and
Concert model with a
European Spruce top over 100 reality are two
yr old Brazilian Rosewood
back and sides. This guitar has
several custom features such
completely
as snakewood appointments
such as the headstock veneer different things.”
I would never build a guitar using a concept that I didn’t agree with 100% or couldn’t see, feel, or
hear the result for myself. I like trying to reinvent ideas and challenging myself with new concepts.
Some things I try work unexpectedly well and some don’t.
There is a bit of mystery involved to be quite honest. Sometimes rationality and reality are two com-
pletely different things. That is why I love getting more experience. I can rely less on physics and sci-
ence and more on my own intuition. It is a great thing to not have to weigh things anymore and get
stiffness to weight ratios. I am getting closer to the point where I can just tell how to treat a particular
soundboard to get it to react the way I want.
I have always used Spanish cedar for my necks because it is a bit lighter
than Mahogany which is helpful because of the added weight of the truss
rod. The back and sides are usually Brazilian rosewood, but I can really
use any type of wood that is available in veneer form. For example, I
am building a stunning macassar ebony guitar now for a customer.
It has some very striking features and will likely be a very
interesting guitar. Since it is a pressed back I can use
very highly figured wood without worrying about
longevity issues. It is nice using the arched back and
laminated sides because I never have to worry
about splitting or checking. When everything
is assembled the back and sides are nearly
indestructible.
When you talk about laminating the backs how do you go about it?
I have been experimenting recently with how that backs are made. I have been altering the number
of layers to see how this affects the tone, using different types of woods for the interior, and using
different brands of adhesives. I will use anywhere from 4 to 7 layers, depending on what type of
sound I am trying to get from the guitar. The laminates are stacked on top of one another with a very
strong two-part glue that is formulated specifically for structural lamination. This reduces veneer
creep and distortion that would be caused using other types of glues.
These layers are placed in a mold that has a very pronounced compound
arch. The whole assembly is then placed in a vacuum which uses
atmospheric pressure to press the substrates into the shape of the mold.
It is left in the press for at least 8-10 hours.
The whole process is much more labor intensive and difficult than
using a traditional solid back. Working with veneers is difficult
because they are so fragile and getting everything lined up
properly while in the mold presents its own set of difficulties.
Then there is actually making the mold, finding the
right vacuum press, researching different adhesives,
and figuring out a process that will yield satisfactory
results. Despite the increase in time, energy, and
money, I really don’t think I will ever go back to
solid woods though. The results are too
rewarding.
I have used many different types of varnishes, oils, shellac, lacquer, urethane, qualasole, and have
used them in different combinations on different parts of the guitar. I think it is safe to say that until
recently I have not used the same finishing methods on any two guitars.
I really used to like using urethane because it is very
resilient and easy to care for, but as I worked with other
finishes I realized it was a little too glossy and looked a
bit out of place. There were certain things I liked about
different finishes, but all of them seemed to have some
negative qualities which would deter me from using it
in the future.
Not necessarily. If I used urethane the repairs would be much more difficult because
urethane does not amalgamate like shellac and lacquer. It is also nice that lacquer
and shellac are very comfortable with one another so you don’t get any adhesion
issues. Repairs can be done just like if you were repairing a guitar finished with only
lacquer.
How about something which folks don’t tend to talk a lot about: scale
lengths?
Working with the builder directly is very beneficial because you have
the opportunity to discuss issues that were problematic with previous
instruments and really find out what the customer is looking for in the
guitar, sonically, visually, and mechanically. After talking with the customer
about the pros and cons of a shorter scale they almost always opt for the
standard scale and are very pleased with the results. I really like using 660
scales because of the tonal benefits, but it is fairly rare that I get an order for
a longer scale.
“There is no consummate
sound because everyone
has their own preferences”
In terms of the board strokes of building
philosophy I was wondering if you felt
that materials should be modified and
moulded with a specific tonal goal in
mind or whether these materials should
be optimised to produce their own
inherent tonal characteristics?
Just like that, everything was gone, every session, every song. It had all evaporated into the ether.
Of course my parents were awakened by my cries of dismay, pounding on their door, 4:00 am, and
dad came out and fixed everything.
It was a great learning experience; and I learned as I went along. By the time I decided it was going
to be an album, I had figured most of the program out. I bought a decent large diaphragm CAD
mic from someone who got it from someone else from eBay, and away I went. It’s definitely not
perfect, but I’m still proud of myself for figuring it out!
T H E I N T E R V I E W:
MEGAN SLANKARD
And you’ve just released your new CD- how was that
experience?
The worst thing I could do is get distracted because I think the idea is “stupid” and stop a “bad” song
from turning into a potentially great song. Still, it’s easy to get frustrated, distracted, or even bored if
the ideas don’t come at all.
My muse tends to be a flighty little fellow, always dashing about, hiding under everyday dilemmas
and distractions. So, as Derek Sivers (of CD Baby fame) said once at a seminar, “You have to meet
inspiration half way.” I go and inspire myself. I read, or write freely without form, just whatever pops
into my head. Sometimes I draw or take a walk…
When I am feeling inspired to sit down and write, I go at it. Pencil and paper, or lap top. I usually
record speedy scratch ideas and melodies onto my ipod with the extremely handy Belkin Tunetalk
and when I’m on the road, sometimes into my cell phone voice mail. Words and music seem to come
together. I may start with a “catchy phrase” or a little guitar lick, but they end up relying a lot on each
other to build a solid structure to the songs.
Spread:
Photo by Justin Oliphant
When lyrics or melody come separately, I Thanks for speaking to us, Megan. Before
have a much harder time matching up the we let you go, could you share with us any
other. Perhaps this is one of the reasons exciting projects for the future?
the Beatles had so much success: two
songwriters (incredible songwriters, might It’s ‘s nice to have something more current
I add,) who could help each other out and to represent myself when I go on tour, which
build on ideas. has been my main focus for the last year and
a half. In 2011 my agent KC and I decided to
This is a guitar blog so I’m going to have experiment with a more advanced touring
you what your set up is… schedule than usual and I ended up being on
the road for more than 7 months throughout
I have a simple set up: two acoustic guitars, the tour (mostly solo). This year I’ve been
Taylor 614ce with factory Fishman pickup, focusing on touring with a collection of
and a Guild D55 with a new and very songwriters called The Novelists.
delicious LR Baggs M1 and iMix combo.
Boss tuner, G7th capos, and Martin Strings. The group is made up of four songwriters
I usually like to sing into a Shure Beta 87A. who have all toured independently
throughout the US, and since we all go the
same places we figured why not share costs
and benefits of touring by doing it all as a
group. We perform our songs together as a
band with four-part harmony, bluegrass
instrumentation, and an energetic pop
sound. (www.thenovelists.com).
Specs
Model: OM
Fingerboard: Ebony
Soundboard: European Spruce
Neck: Honduran Mahogany
Back and Sides: Quilted “Tree”
Mahogany
Front and back peg head veneers:
Quilted “Tree” Mahogany
Tuners: Alessi
Photos courtesy of R. Kraut
FEATURE
Luthier: Steve Saville
Small Jumbo
Finally a purely instrumental album arrives This ability to retain the listener’s attention
at our office and it’s Steve Wildey’s Little Man. through technically demanding fingerstyle
The winner of the 2005 South Florida Folk arrangements is a particular skill even with
Festivals Fingerstyle competition and 1st the varied styles on the CD.
runner up at the 10th annual Gambel Rogers
Folk Festival Fingerstyle competition brings a From the Travis style picking on “Love’s A
lot of technical and lyrical skills to this CD. Twister” to the restrained chordal work on
“Yellow”, the entire album is more a showcase
Often instrumentals are accused of lacking of the skills Wildey has to offer.
feeling. Not so with the standout track
for us: Seasons Of Life. With it’s complex We look forward to his work, and in
arrangement, Widley manages to weave a particular what can be achieved with a
lyrical and melancholic melody line through focussed album.
the entire track.
REVIEW
Songs About Something
Richard Geller
Without the need for TV judges or audiences, As singer-songwriters go, some have great
Richard Geller’s Songs About Something has vocals, others great guitar licks. Geller’s
succeeded. greatest tool are his lyrics and an ability to
restrain the guitar accompaniment to just the
With elegant simplicity, the tracks draws you right level of complexity.
in and inspires the listener to explore the wider
scope of Geller’s work- novels & poetry. Standout tracks include If You Must, with
almost lullaby feel to it and Every Time I See
Geller has played to large audiences at the Your Face, more up front with it’s vocals.
Swannanoa Gathering, opened for Gretchen
Witt, and had the first track of this album, “Every
Time I See Your Face” selected for a national TV
campaign.
Acoustic Bossa Nova is the vehicle Many of the songs consistent of just
for Ida Landsberg to bring a Latin a guitar and Ida’s vocals. Yet they
Jazz tinge to contemporary popular remained harmonically rich despite
music. Accompanied by long time the use of space between musical
collaborator Simon Salvatore, the motifs and phrases.
result is an easy listening CD.
Does the translation of pop music to
Ida possesses a unique vocal a Bossa Nova style work? Well some
talent. With a classical training in tracks come off better- The look of
singing, piano, flute, music theory, love is surprisingly refreshing and
Ida always seems to find her own we all know Fragile works within the
particular way to portray the vocal context of a Jazz theme.
element of a song.
Extras:
Compound side-tapered body
Semi-hemispherical fret ends
Ebony bound fingerboard
Double graphite reinforced neck shaft
Photos courtesy of D. Scannell
FEATURE
Luthier: Harry Fleishman
Fleishman Instruments
Specs
5” lower bout, based on a circular lower
bout shape
Back/Sides: Highest grade quilted
Mahogany from “The Tree”
Top: Sitka Spruce
Side port: Augmented with a water
buffalo horn section
Scale length: Multiscale
Fretboard: African blackwood
Bridge: African blackwood
Peghead: African blackwood
Neck: Curly Spanish Cedro
Extras:
Tapered body adds depth
Steer skull inlay
Spruce roundover under the right arm
area instead of an arm bevel
Demi-cutaway to safe air volume within
the guitar
Back scallops for comfor
As a tenor uke, it sports a 17.02” scale and has an Adirondack spruce on the outer skin, Lutz spruce on
the inner for the top. The back is an outer and inner skin of the Tree mahogany. Trimmed in Indian
Rosewood binding with a 7-piece lamination of mahogany, maple and east Indian rosewood, it’s every bit as
sophisticated as it’s larger brothers.
Photos courtesy of P. Woolson
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PREVIEW
Stay tuned for Issue 4 of
Guitarbench Magazine.