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I'm not into reverse headstocks which is just a personal thing regarding the look. Is there an advantage to a reverse headstock such as easier string bending?
Have you worked with any bubinga bodies on your guitars?
Do you find certain tonewoods complement each other for the body and neck? Sorry about all the questions.
Thanks
Thank you very much, eldarvanyar.
No benefit to the reverse headstock, just styling.
With regards to Bubinga, I've not worked with it as a body. To be honest, I've only ever worked with it once as neck laminates... And with the recent changes to CITES regulations, I don't think I'll be working with it much now, if at all. However, it's said to offer much sustain, bright midrange and a thick, well defined bottom.
I do have my reservations over the whole "tonewood" thing. I recently posted this on my Facebook page;
"Found this article online this morning, thought I'd read it now whilst I have my lunch coffee break. There are so many 'tonewood' debates online, one or two very well known amongst indie builders, and it's very interesting - for both one who uses, or is expected to use, 'tonewood' and the guitar player who chooses guitars specifically for the woods that are used in its construction. I will go with the whole 'tonewood' and tonal qualities thing to a degree (main body and neck woods, perhaps), but I would not hesitate in recommending and going with aesthetics over 'tone' from a piece of wood - particularly in solid body electric guitar making. Remember, there are pickups and amplifiers, possibly even FX pedals, between that slab of lovingly crafted piece of wood and the speakers! Have a read... http://www.guitarnation.com/articles/calkin.htm"
Differences in volume make a huge difference when comparing music reproduced on HiFi. Many a salesman has used that trick when trying to sale a piece of HiFi .
With guitars I would suggest there is probably just as much hype, disinformation, marketing etc.
There are so many variables when it comes to sound and reproducing it. Acoustics, amplifiers, strings, pickups, technique, volume, picking, and ultimately the one listening and comparing. Acoustic memory is a funny thing.
Im sure choice of woods can make some difference, due to how they vibrate etc but there are too many other variables in the noise chain.
So so often it's the players technique, feel, approach, picking, etc that gives them their sound.
Early guitars made by Gibson, Fender etc were made by what was available locally. Mass production cannot compare to hand crafted luthier guitars.
However, I love the beauty of hardwoods and craftsmanship such as yourselves. It can make a huge difference in appreciation and experience of playing guitar for the love of music.
Very early on when I started playing in 1989 I commisioned two hand built strats by Dave Gladden rather than buy run of the mill Fenders or Gibsons.
I had to save hard and pay in instalments but that way I was able to choose the wood types and finish, feel and hardware; totally bespoke.
Be encouraged to keep crafting beautiful guitars as there is something in them that is unique to you,and they are in a strange way part of your legacy and mark on this world.
They are also something that can be loved, cherished passed on from father to son (etc).
I salute you Sir
Thank you for sharing your thoughts, eldarvanyar, completely with you on all that... And I especially appreciate your support and positive words
Been a bit quiet on the "social media" front the past week or so, but I've been getting started on a couple of new builds. Photographed today, three stages of neck construction (left to right); Maple/Black Walnut neck w/ Cocobolo fretboard, Maple/Black Walnut neck w/ Makore fretboard and Maple/Purpleheart neck w/ Ebony fretboard...
Where do you find such a nice variety of wood!
Update on the final build to come out of my lastest stock batch; Wenge KM-I body, 5-piece Maple/Black Walnut neck with Makore fretboard and Wenge-veneered inline headstock...
Thanks joeyowen.
I get my wood from various sources, mainly specialist suppliers, depending on what it is I need. Regular stuff, eg Sapele, Ash and Maple usually comes from local hardwood specialist. I also keep an eye on eBay as there's sometimes bargains to be had. The Makore comes from there as I don't know anyone else supplying it.
KM-I #4 complete...
Thank you very much sir
Yeah, I love the Makore. Sadly, it doesn't photograph as well as it looks in person. It looks washed out in the photos but there was nothing I could do about it. As for the pickups, not even worth mentioning - these are a set of really cheap pickups I use for "display purposes only".
I started work on a striking Maple/Black Walnut neck today Updates on that once I've got the bulk of the gluing done.
On the bench this week... Both custom builds, both six-string, one KM-I and one KM-II, one Floyd Rose equipped - the other fixed bridge, one (messy looking) carve-top (which'll look fantastic once I've finished with it) and one chamfer-edged... More updates later in the week
First post tonight;
UK builders finding it difficult to source threaded inserts and bolts for bolt-on neck construction - get in touch and I'll point you in the right direction. They're not difficult to find if you search in the right place, but don't fall for the expensive set of bolt-on hardware being sold exclusively for this purpose (sold on one particular auction site). For the cost of one of those sets, you can buy enough parts to put together multiple guitars. Same with smaller versions for direct mounted pickups - these were harder to source - I can also help you out with those.
Secondly; probably the next build I'll be finishing (for someone here) - this KM-II custom build comprising Black Walnut body, Maple/Black Walnut neck, Cocobolo (quartersawn) fretboard, Gotoh Tune-O-Matic bridge, Gotoh 510 Series locking tuners and Bare Knuckle Pickups "Nailbomb" covered set...
I'd highly recommend Matt - possibly the worlds most patient human being, dealing with my barrage of questions! A true pleasure to deal with
Back from the spray shop today, this 8-string multiscale custom V (RR-style) will now be the next build out of the workshop. Full spec includes Hipshot Grip-lock, ABM Single String Bridges, Lundgren M8 custom-made (angled) and matte black PU finish...
Here's that 8-string multiscale V finished...
Something new to look out for in the very near future, amongst other things - my prototype KM-III (with Zebrano top on Ash body). The detailing (edging, etc) is yet to be decided, but probably the chamfered edge seen previously, perhaps with some deeper bevelling in the cutaway...
Getting a little further with the Zebrano KM-III...