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Posts posted by Idunno

  1. Nope. Not at all Gitnoob. Not at all.

    Going back in my time well before the internet I built museum quality scale wood models of sailing vessels from reproduced plans, detail sheets and building standards employed during the time of tall ships. For instance, the main mast diameter was a function of the ship's beam. You had to have these references, or the general knowledge of a shipwright, to successfully proceed with the hobby. All the work was done by hand, including the fashioning of all manner of wood shapes, with basic hand tools. No machines (saws, planers, sanders, drills, etc.) were involved. Sanding was accomplished by scraping. Lot's of clamping and learning about wood species and their respective characteristics was essential to each constituent part of a build along with the knowledge of hand sharpening of tools, tool & jig fabrication, fabricating various scale diameter ropes, hand fashioning all metal fitments, on and on.

    The joy was hardly the finished product. It was embodied in its making. When I think of all the folks making acoustic guitars, and reflect back on the hobby mentioned above with the network of craftsman and artisans I met, the making of the guitars is hardly a comparable craft by contrast. But, if that's all you can claim to know then you will naturally consider yourself a craftsman if you've developed it to the extent of your abilities. And, I must admit, there are some visually stunning examples of acoustic guitars out there from the private builders, though aesthetics being the primary bait, most of them I can say do not suit my ear; .

    Machines are great for rendering a significant savings in time and involvement only if saving time and involvement presides over the ROI of pursuing craftsmanship, which is what has been sacrificed to machines by Martin, their ilk and many private builders. And, following your suggestion, we should hail the machine for replacing real musical instruments, coalescing the new real lest we not be old news cast-offs of a bygone era.

  2. Martin's legacy is craftsmanship. Early on it was one of the makers contracted by Lyon & Healy, the latter being a luthier of some reputation, and I often wonder which of the vintage Lyon & Healy guitars still in existence were produced by Martin before L&H started building their own under the brand Washburn (George Washburn Lyon) in Chicago. My point, regarding the vintage tools in that Martin museum, were any of them employed in the making of L&H guitars? Does the tour provide any insights into that? Very interesting legacy.


  3. Yamaha is an international company sourcing from another country that doesn't always abide by international law. Perhaps the lone wolf or the alpha male of the pack? I don't distinguish based upon the who and their personal mantras. That would eschew many, possibly most musical artists if I got that wrapped up in irrelevant and tertiary aspects diluting an interest. Any playable and sonically pleasing instrument should be considered sans the philosophes restricting what would otherwise free us all to employ our own good judgement.

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  4. 1 hour ago, lerber3 said:

    I’ve been taking alto sax lessons for the last few months... I’ve played classical piano, then rock, then jazz over the last 50 years.

    The piano is like a music typewriter... any idiot can play any single note just as well as Oscar or Thelonius or Mozart... just push a key down.  The very obviousness of how to make music on a piano is what makes it so cool to play.  Press a bunch of notes at once and evoke a color... keep doing it and make music... or noise.

    The sax can only play one note at a time, but that note can honk, or growl, or sing, or sob, or throb, or bend, or scoop in the hands of a master... who strings together blistering fast brilliance... or squeal like a frightened pig in the hands of a beginner.  Some notes take no fingers, some take all your fingers and other parts of your hand.  Some intervals are easy, others are like a finger puzzle.  Some notes can be fingered two or three different ways to make certain intervals less awkward... which makes improvising very interesting.

    I’m loving it... I’ve been renting a crap instrument and starting to look into buying a better horn.  I’ll never master the thing, but somehow the people I play with think I know what I’m doing : )


    Got wind?

  5. The 10K can be correlated if you're looking to correlate it, or conjured up if that's making more sense to you. Any number can work, IOW. Neal mentions the prodigy and we dismiss him as a weirdo who thinks guitar and thereby plays it. Then we have 50 y/o veterans asking a board how long before string changes.


    The notion of numbers just doesn't work. Nor should it. As previously stated, it's different for everyone and the claimant spotting us with 10K derived his number from a study of 1, 2, 3, 300 guitarists? Smell the sham? Finding a self-made expert in that yet?  It took me 3 months to restore a 98 Jeep Cherokee bumper to bumper therefore it should take a similarly spirited person a similar period of time and, just for the sake of it, let's go macro and make everyone capable of that in the same period of time with the same level of quality. Asinine yet?

  6. Actually, I'm not connecting the undoing of natural things with a display or love. I would connect it with an unnatural force messing around with nature but that's where it stops. Now, should you write about undoing all those natural things as deeds to prove love, then it has to be connected in a manner that we understand and not a reach.

    In Scarborough Fair, the lyrics "Tell her to make me a cambric shirt. Without no seams or needle work. Then she'll be a true love of mine." is similar to your flow of impossible deeds so I'm guessing there's some influence there. But, even that song doesn't jump right out and elicit love. Who needs someone to perform impossible deeds as a show of love? That's counter intuitive. If anything, I see it as a way to ensure that love does not develop. It's like saying I'll love you when monkeys fly out of your butt.

    Like I said, love needs to be connected to deeds one would associate with enticing it.

    I do like the minimized lyric style, though, and try to use it when I can.

  7. 2 hours ago, Phil O'Keefe said:


    Those Dunlop "lever action" strap capos used to be my capo of choice too (they beat the heck out of the elastic strap type capos IMHO), but the lever part of the design tends to make the strings pull away towards one side, and they do it a bit unevenly unless you're really careful as you're putting them on - you have to really press down hard and hold them steady while engaging the lever and locking them down. Some modern capo designs seem to be a bit easier to use in that respect, and tend to be less likely to screw up the tuning / intonation. 


    Very true. It would pull sideways if not held down first against the board with a decent amount of squeeze. But, it was easy compared to starting my car back then. That hand crank could be dangerous and if your timing had slipped even a little you'd be there cranking your arm off. I don't even want to talk about making the butter or stoking the boiler.

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  8. Objective quantitative analysis, of a subjective qualitative challenge, was completely logical to some people and a belly laugh to others who don't limit logic. But, yea, to push logic (and milking a few more miles out of the joke) aside, it's good to know some of the previously faithful realize they've been duped. Doctrine comes in all flavors.


    However -


    The thought made me conjure up a conservative estimate of hours spent playing that exceeded the 10K. Meaningless as a number alone, it did make me question most of those hours as poorly spent. So, I think the proposition is more towards making the most of opportunity (in sheep's clothing).

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  9. Sure. People who think a big name and expensive in a single sentence equate to quality in workmanship and sound are people who do not possess the playing and aural skills to judge a guitar. So, they weigh their decisions on forum-speak. And/Or,  they buy sight unseen with high hopes of bagging a trophy but get a hyena.

    Look at the ads and notice all the used high end stuff out there that can be found in frequent forum discussions getting vaunted and lauded. People actually take that chatter seriously and buy based upon it. Much of it is simply parroted by people who, if I were a betting man, probably have never touched the stuff they hawk or even have the skills requisite to properly sampling such instruments. They just want to earn a place within the ranks of a forum camaraderie and pay the propaganda forward.  It's been that way since I started reading these various forums in the way back.That's where the hype meets its match in personal disappointment and good guitars are tossed, almost literally, onto the market at prices that fetch quick sales and the end of the suffering.

    Then of course, there's the purchase that could not be afforded but went down anyway. The buyer has to sell for financial reasons and loses his shirt and pride.

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  10. https://app.box.com/s/j0y5142uqazq0uwb88xzlofyhzki41wx


    Recorded a couple days ago. I really like the original and this proves that not all acoustic endeavors are credible just because. But, this one was a request by a very pretty and charming woman-girl I met many years ago so I ponied up the troubadour for her. It's been in my rotation ever since. I remember her like Jimmy Durante remembered Mrs Calabash, if you know that story.


    Yamaha classical plugged.


    Edit: Sad Lisa - Cat Stevens Cover

  11. My thoughts will have to side with your ears and hands. You're the one in the pit and know just exactly what's needed to aurally punch through it. I've never even touched the guitars you chose (settled on), but I have played other Taylor 12s and Ovation 6s. Not terrible guitars, just not preferences.

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  12. Just trying to pique your imagination, which seems to be pretty good, for some hybrid thinking.


    Remember JasmineTea? We discussed devices sometimes, which he was keenly interested in based upon the early effects designs he both owned or had experience with, and I've given some cursory thought to it over the years since then. I just never give it any additional thought as a prototyping possibility.


    The xylophone's bars are placed above their sympathetic pipes and require striking to emit sound. With the guitar I envision the initial sonic disturbance to be the plucked string placing its sympathetic pipe into resonance, which will be sensed and amplified acoustically through contact with the top. The individual pipes will necessarily need to float (like a jeweled movement) to resonate unimpeded. Upper and lower pivots will do this with the upper pivots integral to the top and the lower pivots integral to the transverse brace. That much is simple.


    If the strings were to pass through the pipes (diametrically) via hollow (center-drilled) pivots, with the ball ends nested against the bottom side of the lower pivots, the string resonances would ring in the pipes. The resonating pipes, in contact with the top via the upper pivots, would transmit into the toneplate (nee bridgeplate) as would the saddle in the conventional sense. The bridge, saddle and break angle would remain consistent with current designs but the string ball ends would now be nested deeper on the underside of the lower pipe pivots.


    Is this feasible? Physically speaking, yes. Sonically? Beats me. I can clearly envision the internal apparatus in place but worthwhile acoustic augmentation of the top can only be empirically decided.

  13. Tele bodies? Going for the gold already? I just barely witnessed the CB phase come to fruition. I was expecting a tweener like maybe an acoustic build.


    Second star on the right and on till morning...


    Mill out a body (B&S) from a single billet (laminated block) of wood and then mill out a top blank for it. Then, each string ball end will attach to and resonate its respective pipe cut and tuned to concert pitch. Think xylophone. The pitch apparatus will be retained transversely by the side of the milled lower bout and sonically fielded by pressure-adjustable contact with the bridgeplate. The strings will merely pass upward through a dimensionally reduced bridge and over a saddle to the standard tuning machines. The break angle will be the moment needed to put the top plate in contact with the pipe apparatus. Once all is set and working, mill off the back of the box to sonically experiment with a back plate. Ervin Somogyi insists this is necessary for the top to achieve its full sonic capability. Until then, leave the milled back intact to retain box strength while fitting everything.

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