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Showing results for tags 'Guitar'.
Found 8 results
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To my dear Pegbox Friends , I am seeking suggestions/advice/ideas on ideal designs/models for - and how to voice, string, and set-up - a Violin or Viola that is specifically well-matched to play folk and spiritual music with one Steel String guitar and one Mountain Dulcimer and 1 -3 adult voices. The guitar is an all-Koa 00 12-fret which I designed, the dulcimer will be American Chestnut or Honeylocust (Gleditsia triacanthos). Sometimes playing instrumental and sometimes with vocals. Performed unplugged in a house with hardwood floors and plaster walls and ceilings. No rush on replies. This is a coming winter project. Feel free to design and build vicariously through me. In the future, we could all publish an article together and include recordings of the finished product(s). If you have what you feel is the perfect finished instrument for this assignment, please tell us all about it. I may be willing and able to buy it. I have lots of well-aged violin-family tonewoods on my shelves to choose from: Sitka, Engelmann, Red Maple, Sugar Maple, Tulip Tree (liridendron tulipifera), Black Walnut, Butternut, Boxwood, Osage Orange, Ebony, African Blackwood (dalbergia melanoxylon) I look forward to your thoughtful, useful replies and clean jokes. To show my appreciation for your time and effort I will make a blood donation on your behalf - hopefully none of you will need it. Thanks in advance. Sincerely, Randy O'Malley -
Disclaimer: The words “violin” and “guitar” are used to represent families of instruments. Currently, some of us on The Pegbox are trying to identify and understand a violin made in Ukraine in 1988 (nineteen eighty-eight). One mystery is the luthier’s reasons to install a non-ebony fingerboard. There are several obvious possibilities: access to materials, financial factors, tonal considerations, player requirements. This led me to think about some less obvious reasons for luthiers to use non-traditional or “alternative” tonewoods when making a "traditional" violin or guitar. Here are some reasons that have guided or limited me when designing or making instruments: The instrument is made entirely with wood that is native to a certain region such as province, state, small island nation. Example: I designed a guitar with North Carolina native tree species: Black Walnut, Red Spruce, and Persimmon. Other designs specify St. Lucian species or Ontario species. The instrument is made entirely from wood salvaged from one particular building or vessel, such as the client's home or yacht. The instrument was designed by a non-luthier, visual artist who wanted a piece of functional art. The instrument was designed to be made from woods of a specific botanical genus. The client refused certain wood species or colours (natural or dyed). The luthier and/or client was allergic/sensitive to certain species of wood. So, we see some valid, reasonable limits on tonewood choices that many people are unaware of, or forget, when surveying a "non-standard" traditional stringed instrument. I hope this knowledge helps you in your future luthier endeavours. Keep an open mind. Think LATERALLY. Be empathetic. Never assume. Thank you for reading. Randy O'Malley
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I had a few questions about this cello. First of all, has anyone ever heard one (not heard of)? Would this classify as a fairly well-built American cello? Ebony insert/purfling on the neck, or is that just an inked line (probably)? And, is there any benefit to the lining construction? https://rover.ebay.com/rover/0/0/0?mpre=https%3A%2F%2Fwww.ebay.com%2Fulk%2Fitm%2F264676299826
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Okay - likely a dumb question best answered on a guitar forum...but I'm sure someone on MN knows... Disclaimer: I know nothing about guitars - be kind. Two years ago I traded a violin I wasn't playing - for a guitar. Goal: Learn the basics (no rush) so that: A ) I can strum a few chords to be able to sing for the entertainment of my parrots or - if I ever got good enough - accompany easy fiddle tunes. B ) I can pick - enough so I can amuse myself with Pachelbel's Canon... I was advised to get a nylon string guitar and came home with a very nice classical guitar. Well - I find the guitar too big and unwieldy. Enough so that I don't muck with it as much as I'd like to. Plus I don't really want to learn only classical either. Gotta learn Smoke Over Water and Bohemian Rhapsody too... On Thursday I discovered that there is a crossover guitar! Who knew? Narrower fingerboard...and designed for general use - sounds like what I actually need! Now what? For as little as I use it - get a different guitar? Trade the classical for a crossover? Would it be worth it? Am I missing any other key bits and pieces? I know I want acoustic and not electric and that I don't want laminate...and am wondering about truss rods...
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Who was the first violin maker to make the linings over the corner block? The earliest I know from the top of my head was Celani in mid 19th century. Does anyone know a maker in the 18th century using this technique?
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Over the last couple of years I have extensively studied Stradivari's guitars, guitar forms and templates and guitar making methods, to come to a more close reconstruction. The large guitar was made after Cremona template MS. 750. The small guitar was made after the little form in Paris (E.901.6). The cases were based on the "Giustiniani" example. These were the first guitars ever made after the Stradivari forms and templates, instead simply making a shortened version of the "Hill" or copy a guitar with later alterations (Rawlings). An article about this investigation, along with a plan for the little guitar, was published in the summer edition of American Lutherie. A shortened excerpt of this article can be found here: https://thedutchluthier.wordpress.com/2015/08/30/antonio-stradivari-guitar-maker/
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Hello!! Happy Christmas and happy new year!! For a nice day and good feelings here the video by Edoardo Catemario named "Fronna" Video: Bye bye and happiness for you all! QuattroQuarti -
Hi everybody!! I would like to share with you this book: Fundamentals of Interpretation By Edoardo Catemario I think it's a great new entry in my personal list of the "books of my music library". It's a little manual that contains all those information that every expert musician knows. It's written by Edoardo Catemario who said: "It took me over 15 years to make it as concise as possible and is now only 36 pages. Everything you need in order to understand the very basic knowledges of interpretation is here". The book is in pdf format and is free to download: http://www.catemario.com/blog/?page_id=683 I hope to have been helpful to anyone who wants to play better following the "Art" of a great musician. SetteNoteInsieme
