tag:blogger.com,1999:blog-90621451896315274362024-02-21T03:42:05.237+00:00David Whiteman, Guitar MakerNews from my workshopDavid Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.comBlogger105125tag:blogger.com,1999:blog-9062145189631527436.post-11476901832304642702017-07-04T20:59:00.000+01:002017-07-08T21:31:38.275+01:00ROYAL GREENWICH GUITAR FESTIVAL JUNE 25th - JUNE 27th 2017<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeF2_auF0QQfdZzE96NPFSQcYvMBLbIvakjWnHkw5Wf1wbf3sZN-TjKmfcT5Lu0ylUkYYt4IXMt1LB1tBZUJnPjTtP1SX1QAcVYH1n_RsEyfgJOe7RdM-GWgebiphCW8ZT-X54c6NK978/s1600/gwich+004.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeF2_auF0QQfdZzE96NPFSQcYvMBLbIvakjWnHkw5Wf1wbf3sZN-TjKmfcT5Lu0ylUkYYt4IXMt1LB1tBZUJnPjTtP1SX1QAcVYH1n_RsEyfgJOe7RdM-GWgebiphCW8ZT-X54c6NK978/s400/gwich+004.jpg" width="400" /></a></div>
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<i> A fine rosette by Miles Henderson-Smith. <a href="http://mileshendersonsmith.com/">mileshendersonsmith.com</a></i></div>
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In the past, the old Spanish guitar makers would leave their hot and dusty workshops, throw some guitars over the back of a donkey, and head off to market to sell their wares. It's still a bit like that today to be honest, except for the bit about the donkey. I've recently got back from the Royal Greenwich Guitar Festival where I was exhibiting a guitar. Guitar exhibitions are hard work; you have to have a guitar ready to exhibit, you have to drag yourself away from the workshop for a couple of days and you have to lug yourself and your guitar to the venue. In fact, a donkey could well come in handy.<br />
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I have to say that this festival was one of the friendliest and most stimulating guitar events I've been to in a long time. Run by Graham Anthony Devine at Trinity Laban Conservatoire of Music, this festival has been going from strength to strength. Three days of concerts, master classes and lessons set against the dramatic backdrop of the Old Royal Naval College. Tutors and performers included John Mills, Carlo Marchione, Fiona Harrison, Charles Ramirez, Cobie Smit, Tim Pells and Graham Antony Devine.<br />
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The Guitar Makers Expo was a new addition this year, and a welcome one as makers always like to show their work and hear their guitars being played. That interaction with players is crucial to luthiers, and the feedback we get from players of all levels helps us produce better instruments. There were some fine makers exhibiting this year and it was a pleasure to meet them and admire their work. I love talking about guitars, discussing ideas and experiences and for me this was an inspirational part of the 3 days.<br />
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I would like to add a special thank you to Jonathan Parkin who is currently finishing his Masters at Trinity with Graham Devine. Jonathan demonstrated all the guitars in a short performance at the end of the festival; not an easy thing to do on unfamiliar instruments. He did it superbly.<br />
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I have included a picture of each maker's work. The pictures were taken in less than ideal lighting conditions so please take time to visit their websites to see better pictures and more information.<br />
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<i>A guitar by Argyll-based maker Pete Beer with spectacular cocobolo back and sides <a href="http://www.petebeerguitars.com/">www.petebeerguitars.com</a></i></div>
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<i>Shaun Newman with his guitar with paduak back and sides. <a href="http://shaunnewmanguitars.co.uk/">shaunnewmanguitars.co.uk</a></i></div>
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<i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixBxuAX-c2Nwj_VJ7ZJscbDhG3a_zFR2Ui0KFxoxpyDbICndQ_9GOuRxOWbLUejvypKkzzWQU-etpM9hVg0KXBOprr10Rgpczo03pwuiMC9X2ywPss0b3vtDoDuLUW_GNPnWeDR60FRLM/s1600/gwich+013.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixBxuAX-c2Nwj_VJ7ZJscbDhG3a_zFR2Ui0KFxoxpyDbICndQ_9GOuRxOWbLUejvypKkzzWQU-etpM9hVg0KXBOprr10Rgpczo03pwuiMC9X2ywPss0b3vtDoDuLUW_GNPnWeDR60FRLM/s400/gwich+013.jpg" width="300" /></a></i></div>
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<i>James Lister displayed this maple and spruce guitar with a distinctive leaf-patterned rosette. <a href="http://jameslisterguitars.co.uk/">jameslisterguitars.co.uk/</a></i></div>
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<i>This striking rosette is the work of Jose Marques. </i></div>
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<i><a href="http://josemarquescustomguitars.jimdo.com/">josemarquescustomguitars.jimdo.com</a></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7Vbdi5p4u-bNh52NjNRfRVPeCk1YCwoEExxpwbI-utYWsfiKwtEJIwrppCEJBpYU8n57P2XgT36pEVBdp167MEUwn1oUboAUPTGdOSO9l-CzOofgWWJ3sB5IZSLxKyIWwhkr-Sdq1jH4/s1600/gwich+025.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7Vbdi5p4u-bNh52NjNRfRVPeCk1YCwoEExxpwbI-utYWsfiKwtEJIwrppCEJBpYU8n57P2XgT36pEVBdp167MEUwn1oUboAUPTGdOSO9l-CzOofgWWJ3sB5IZSLxKyIWwhkr-Sdq1jH4/s400/gwich+025.jpg" width="300" /></a><i> </i></div>
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<i>Toon Lauwers made the trip over from Belgium with this elegant rosewood guitar<a href="http://www.toonlauwers.be/"><span style="color: black;"><u>. </u></span>www.toonlauwers.be</a></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9xbrMdW1PwTb7I0ZJM6m68PkdNN5zcfiEH1MY1ERSCv9pJYrWU_SOXjc_z-DxjM_1xT-_qmEFzUAO6j3IhKZl_DlwMeNkE0Xv2wj8AQWk5x570ddcbKTzYb9coEsfqCR0mlPI8YbUMRA/s1600/gwich+026.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9xbrMdW1PwTb7I0ZJM6m68PkdNN5zcfiEH1MY1ERSCv9pJYrWU_SOXjc_z-DxjM_1xT-_qmEFzUAO6j3IhKZl_DlwMeNkE0Xv2wj8AQWk5x570ddcbKTzYb9coEsfqCR0mlPI8YbUMRA/s400/gwich+026.jpg" width="300" /></a> </div>
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Johan Sarens was showing this fine sounding guitar with its sophisticated rosette.</div>
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<a href="http://www.johansarens.be/">www.johansarens.be</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi6nsb76iRwA7dWAxGuSDsQClBoJ7zbaTeda6-0AjT4UPyhLQNmcku9gnTMFfoOfTG0wQhGnzz1XFxFqRldMrpE6Yqu2oaTWRTJwLSuPrDfL9bkroxqzOn1zkHkzcl2wGkFRRUOC4LoOM/s1600/gwich+031.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi6nsb76iRwA7dWAxGuSDsQClBoJ7zbaTeda6-0AjT4UPyhLQNmcku9gnTMFfoOfTG0wQhGnzz1XFxFqRldMrpE6Yqu2oaTWRTJwLSuPrDfL9bkroxqzOn1zkHkzcl2wGkFRRUOC4LoOM/s400/gwich+031.jpg" width="300" /></a><i> </i></div>
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<i>Stuart Christie had 2 guitars with him. This one included purflings made from holly cut from Stuart's garden.<a href="http://www.stuartchristieguitars.co.uk/"> www.stuartchristieguitars.co.uk</a></i></div>
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<i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLbeOZ_h58IMoTeOgZDVyHa20pfzggbg9v41HZ0Z-ahsrB7wU10O8LouXwTswQ-QFICu5HNzCBDHYBDpmhOqdUQ5yAGdNrEuy4r8VAM0S2SL-h3xODafz39e2HR3QbxNVFFq1RpshhXhs/s1600/gwich+035.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLbeOZ_h58IMoTeOgZDVyHa20pfzggbg9v41HZ0Z-ahsrB7wU10O8LouXwTswQ-QFICu5HNzCBDHYBDpmhOqdUQ5yAGdNrEuy4r8VAM0S2SL-h3xODafz39e2HR3QbxNVFFq1RpshhXhs/s400/gwich+035.jpg" width="300" /></a></i></div>
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<i>Sam McClaren had this lovely looking and sounding Madagascan Rosewood guitar on display. <a href="http://www.mcclarenguitars.co.uk/">www.mcclarenguitars.co.uk</a></i></div>
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<br />David Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.com0tag:blogger.com,1999:blog-9062145189631527436.post-85756468612516157772016-07-07T16:29:00.000+01:002016-07-07T16:29:00.883+01:00Herman Hauser early Viennese style guitar.<div class="separator" style="clear: both; text-align: center;">
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There are some guitars that are guaranteed to attract attention and the guitars of Herman Hauser definitely fall into that category.<br />
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This guitar come in recently for appraisal. It is from the first part of the 20th century, although the date on the label is illegible. Hauser is best known for his Spanish style guitars that were played by Segovia, Bream and many others; this guitar is one of his Viennese style instruments, owing more to a Northern European (and late 19th century) style of making. Sometimes these early Hauser guitars disappoint me, but this one did not. It has a wonderful tone, with particularly brilliant trebles.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhthufKTYU2nheTdywAL8MOuT_mUBnLraDVG3bG7f4qecSuD7hxNSF-Jsmcf49BoKFHDKxH6r7SmLaz0kjHC1TbX8Cpneg_HD_Xee7_IcYoxspzVG_c31b4_2Gpeaqi9gXiV99B4WY_j-s/s1600/trains+144.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhthufKTYU2nheTdywAL8MOuT_mUBnLraDVG3bG7f4qecSuD7hxNSF-Jsmcf49BoKFHDKxH6r7SmLaz0kjHC1TbX8Cpneg_HD_Xee7_IcYoxspzVG_c31b4_2Gpeaqi9gXiV99B4WY_j-s/s320/trains+144.jpg" width="320" /></a></div>
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The top is European spruce with a simple transverse bracing and the back and ribs are of nicely flamed maple. This guitar is definitely in the 19th century style and the ebonised neck and 'ice cream cone' heel reflect that. The decoration on this guitar is delightfully understated with a single binding on the top, the sound hole defined rather than decorated and the functional headstock dark and austere.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKnwaMok7wfIEbW5BEzqvKAPGSFh1V2T_qq6BbwrzQGyPIpEI5IcBuaMZY_KntC4iAXJCUlQEnR4LtCJ0BHSBdPoBlQ65OG1dZa3bNUSh_v1bSimLb5qgg97mrsfE-oYT7X7q64jYltSU/s1600/mandolongman+125.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKnwaMok7wfIEbW5BEzqvKAPGSFh1V2T_qq6BbwrzQGyPIpEI5IcBuaMZY_KntC4iAXJCUlQEnR4LtCJ0BHSBdPoBlQ65OG1dZa3bNUSh_v1bSimLb5qgg97mrsfE-oYT7X7q64jYltSU/s320/mandolongman+125.jpg" width="320" /></a></div>
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I find that whenever I examine a guitar I learn something from it. The understated simplicity of this guitar resonates with my own thinking at the moment as I am experimenting with simple lines and decorative motifs in my own work.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbLHb20D4npk_kJt03qO_KxCdz00T9KpxR7Q2Qe_Wxd9e9ef5w_h0YZWGAaoK8lRHJAaRAmG8iumhs_kya1eAtHnY8d56AUB_cC2Kg3TzEYkQECle0XfYPRIbItH73ggiqsRP9sXYVMTs/s1600/trains+142.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbLHb20D4npk_kJt03qO_KxCdz00T9KpxR7Q2Qe_Wxd9e9ef5w_h0YZWGAaoK8lRHJAaRAmG8iumhs_kya1eAtHnY8d56AUB_cC2Kg3TzEYkQECle0XfYPRIbItH73ggiqsRP9sXYVMTs/s320/trains+142.jpg" width="320" /></a></div>
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This guitar is currently for sale - sadly its not mine, but I am happy to pass on any enquiries to the present owner. I believe it has been authenticated by Herman Hauser III and is in fully playable condition. It has had work undertaken on it in the past but is a lovely example of this maker's early work.<br />
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<a href="https://www.youtube.com/watch?v=D5Tclwov5t8">Here </a>is a link of the guitar being played.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK_dkB6AZpER7jqsOXN1a3G9FFZkI4VaS1NBQiaSKc1v70AjZHE24FfXdXEpyXWVdlvRWFyMPeZyIKmYZz77A7O7p73p2Yc_3tww6vRvuzi0sF7FPjdhDKVtthfOpNT-kVoTfrEQbWU9o/s1600/mandolongman+124.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK_dkB6AZpER7jqsOXN1a3G9FFZkI4VaS1NBQiaSKc1v70AjZHE24FfXdXEpyXWVdlvRWFyMPeZyIKmYZz77A7O7p73p2Yc_3tww6vRvuzi0sF7FPjdhDKVtthfOpNT-kVoTfrEQbWU9o/s320/mandolongman+124.jpg" width="320" /></a></div>
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<br />David Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.com1tag:blogger.com,1999:blog-9062145189631527436.post-33944359202305217552015-07-07T10:36:00.000+01:002015-07-07T10:36:12.525+01:00 Guitar neck reset<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF5mBp8_43JT8O4w70KOKEbpew-mXZ2qsDXD9g1JNMFg7lhVCRGIt5TdPOvjQBWQwWRbGIan0gvsEA9B4SxO14NTEmLotFqSezBLM9b3cQB6PaNFb8SfSvRVgXrxLI13h7XkEo3O_rmN8/s1600/valance+001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF5mBp8_43JT8O4w70KOKEbpew-mXZ2qsDXD9g1JNMFg7lhVCRGIt5TdPOvjQBWQwWRbGIan0gvsEA9B4SxO14NTEmLotFqSezBLM9b3cQB6PaNFb8SfSvRVgXrxLI13h7XkEo3O_rmN8/s320/valance+001.jpg" width="320" /></a></div>
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I seem to feature a lot of 19th century guitars on this blog: here is another example. This was a recent restoration commission; the neck had pulled forward significantly resulting in an unplayable action. This is a common problem encountered on old guitars.<br />
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The guitar is by Valance, a French maker working in the first half of the 19th century, and is typical of guitars of this period, the back and sides are of flamed maple, the front of spruce and all the details are ebony and ivory. Aesthetically it is typical of many of these French guitars with a simple rosette, figure of eight headstock and elegant smiling bridge.<br />
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This guitar had been restored at some point in the past ( the evidence points to the back having been removed) but was still in lovely condition and the owner was not unreasonably anxious about the major work to be undertaken.<br />
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Of all the neck joins used in guitar construction, this is possibly the simplest. The neck itself is made of 3 main parts, the headstock, the main shaft of the neck and then a separate triangular heel, with the grain running at 90 degrees to the neck itself. This is commonly referred to as an 'ice-cream cone heel'. The neck is joined with a simple butt-join; no dovetail or mortise, just 2 carefully fitted surfaces and animal glue. It seems an incredibly precarious method of attaching a neck, but this one had remained solidly glued for nearly 200 years and the reason for the neck reset was not due to a failing in the neck itself, but a distortion in the body, possibly caused by the previous restoration.<br />
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In order to gain access to the neck join it was necessary to remove a small portion of the spruce that made up the flush fingerboard. Hide glue is perhaps the easiest glue to disassemble and the inlays came apart easily as can be seen in the picture below. The neck join itself however proved more challenging, partly because I was being so careful not to damage the beautiful and original finish.In the end it took 7 hours of painstaking work to remove this neck; patience was the most valuable tool in the workshop that day.<br />
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The job of realigning the neck is simple, in theory at least. A small amount of wood is removed from the heel to adjust the overall neck/body geometry and the action and alignment are constantly checked. The neck is reglued to the body and the fingerboard section and inlay reinstalled.<br />
This guitar was fitted with gut rather than nylon strings and it was lovely to have it restrung and properly playable again. The only sign that any work had been done was that the action and saddle were now at the correct height!<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7puOKo1_8iIfdW_Pr_QbFvOsPqwm5GC2UscFAw6w57BA8QLH2KFaWxQFhmL-YgMQCBGNSohpion7SestAG9wtSsZfvfW6BAMTY5HmE-IYfd8Jw6fANl3ZJOCPKNbG-YU_f1TW_nUjOss/s1600/valance+002.jpg" style="margin-left: 1em; margin-right: 1em;"></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7puOKo1_8iIfdW_Pr_QbFvOsPqwm5GC2UscFAw6w57BA8QLH2KFaWxQFhmL-YgMQCBGNSohpion7SestAG9wtSsZfvfW6BAMTY5HmE-IYfd8Jw6fANl3ZJOCPKNbG-YU_f1TW_nUjOss/s1600/valance+002.jpg" style="margin-left: 1em; margin-right: 1em;"><br /></a>David Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.com0tag:blogger.com,1999:blog-9062145189631527436.post-396384286943483362015-05-13T22:20:00.000+01:002015-05-14T09:13:33.052+01:00 Stauffer 'Legnani' copy<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinXyEawipyfxCECTigTI1rLxzHeYHmaOhy0rANfDts_Bu6onwrK1h91XslVD-U-M9wpVGQeDTR1jHic890IcTHAxJCTQPdYd4u2qF_Hi7zFIZ1KeKv1UtTtZjchsQTCV7azvFxDkRKd0w/s1600/staufer+torres+006.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinXyEawipyfxCECTigTI1rLxzHeYHmaOhy0rANfDts_Bu6onwrK1h91XslVD-U-M9wpVGQeDTR1jHic890IcTHAxJCTQPdYd4u2qF_Hi7zFIZ1KeKv1UtTtZjchsQTCV7azvFxDkRKd0w/s1600/staufer+torres+006.jpg" width="300" /></a></div>
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This guitar is a copy of a J.G. Stauffer from the first half of the 19th century. This guitar, with an adjustable neck, extended floating fingerboard and 6-aside tuners, was an instrument that Stauffer developed in conjunction with the virtuoso guitarist Luigi Legnani.<br />
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I've been building this guitar on and off for about 18 months now. It wasn't a commission but one of those projects that has to tick away quietly in some dark corner of the workshop to provide a bit of light relief when building to commission becomes momentarily too stressful. In fact, building something different from the normal guitars I build is a good way of sharpening ones wits, and the unfamiliar subtleties on an otherwise familiar structure keeps you fresh and inquisitive.I have repaired a number of Stauffer guitars in my career but never made one, and the temptation to build an adjustable neck and use those tuners proved just too big a temptation.<br />
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The picture below shows the Stauffer alongside a partially completed Lacote copy that I made some time ago. The Lacote has a veneered back whilst the Stauffer is solid. All Stauffer guitars I have seen have veneered backs so this was a departure from the original. I chose to build these guitars 'back first' although I am pretty sure that many 19th century guitars were built with the top being fitted first.<br />
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The picture below shows the minimalist bracing of the soundboard. The bridge plate is not featured on the original, but is there to protect the underside of the soundboard from string wear and it is unlikely to affect the tonal qualities of the instrument. The 2 supporting cleats are also my additions; they are there to reinforce the soundboard join. Although a departure from the original, I feel the longevity these features might add to the guitar are worth it</div>
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The picture below shows the simple adjustable neck mechanism, supplied by Rubner of Germany. It is a simple mechanism. Turning the key moves a bolt on a threaded rod anchored in the end block, the tension of the strings pulls the neck forward and thereby increases the the height of the strings. Turn the key the other way and the action is lowered. Guitars with adjustable necks make a lot of sense; a player can set the guitar to his own playing style, set it to match the requirements of a particular piece of music, or correct humidity related changes.<br />
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This guitar was made from salvaged Cuban mahogany which I love. It was so old and dry ( cut from a Victorian drawer top) that I wondered if it would cope with the tight bends required for the very waisted Staufer shape. It did thankfully, but my heart was in my mouth for 10 minutes whilst I bent these ribs.<br />
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Above; a detail of the raised fingerboard on this guitar.</div>
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The distinctive 6 aside tuners are made by Rubner. David Rodgers also makes a fabulous replica set which I would use for future orders.<br />
This style of tuner adds weight to the neck and the buttons are quite close together, but this is something you quickly adapt too. This neck is ebonised using a black french polish.<br />
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The final picture below shows the elegant simplicity of this guitar which I love; perhaps I should build all my guitars like this.<br />
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<br />David Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.com2tag:blogger.com,1999:blog-9062145189631527436.post-56269804843934580772015-05-05T20:12:00.002+01:002015-05-05T20:18:29.581+01:00 Concert Guitar (New Guitars Part 2)<div class="separator" style="clear: both; text-align: center;">
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This is just a short post to highlight a rather striking guitar I completed and delivered in February. It is an example of my concert guitar with a cedar soundboard and rosewood back and ribs. It is fitted with a rather fine set of Rodgers tuners<br />
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I was very pleased with this guitar; cedar can be a really rewarding wood to work with. The back and sides are rather pretty too.....<br />
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<br />David Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.com0tag:blogger.com,1999:blog-9062145189631527436.post-42715242529316339962015-01-12T15:08:00.000+00:002015-01-12T15:08:55.935+00:001888 Torres SE122 copy (New guitars Part I)<div class="separator" style="clear: both; text-align: center;">
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Last week was a busy one, as I was eager to get back in the workshop after the Christmas and New Year break. It was a week for final polishing and stringing up of guitars, the first one being this Torres replica guitar in spruce and rosewood and Cuban mahogany. Last year I measured and drew Antonio Torres SE122; a wonderful guitar that was auctioned at Bromptons (London) in October. This is the first copy I have made of the guitar, and also one of the most faithful replicas I have made of any guitar. The top is an exact copy, even down to the startling grain orientation (the grain lines run 3 degrees off the centre line) and the mixture of rosewood for the back centre strip and sides, with mahogany for the main part of the back.<br />
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The original sounded lovely, with a soft, full sound and it responded effortlessly under the fingers. I certainly didn't set out to replicate the sound of an 130 year-old guitar; I wanted to get an idea of what this guitar was like when it was first new; the sounds that Torres first heard when he strung SE122 up in his workshop. The new guitar is crisper, more incisive and more even across the range, but with the same rich depth in the bass and a purity in the treble. I will be fascinated to see this guitar again when it has been played for a few years.<br />
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One of the great pleasures in building this guitar was using Cuban mahogany. All the Cuban I have is salvaged from 19th century furniture and it really is fantastic timber with the most glorious rich colour when polished. There is a good supply of old furniture that can be converted into guitars and I enjoy putting it to good use. Sometimes you have to work with nail holes or cuts that were in the original piece, but Torres did the same; there are examples of his guitars that were made from salvaged material with plugged screw holes.<br />
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The rosette is an accurate copy of the original, but is fresher in colour. Again, I wanted to make it as it would have looked when new, with bright and vibrant colours. The design is so typical of Torres inlay work and is a strong, sophisticated yet simple statement. The bridge is a little longer than I would use on my own guitars, and longer than on many Torres guitars that I have seen. What caused Torres to do this is unclear, but it seems he did most thing carefully and and deliberately so it is unlikely that it was an accident. Perhaps Torres want to add cross grain stiffness to that particular soundboard (it did seem quite stiff) or perhaps he just liked the look of the longer bridge. The 2 mother of pearl roundels on the wings of the bridge very often look out of place on a more modern guitar but I think, in this case, fit perfectly into Torres's aesthetic.<br />
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The tuners I used on this guitar are Rubners with plain brass plates and small round buttons and although different from the originals,I think they suit the guitar well. I currently putting together another copy of this guitar and I am keen to make a comparison.<br />
I have had a number of enquiries about the drawing I made of this guitar, and when I get the time I will be making all the information I have available. If you are interested in purchasing a copy please let me know and I will update you when it is published<br />
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<br />David Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.com0tag:blogger.com,1999:blog-9062145189631527436.post-86073740455679273672014-10-30T22:14:00.000+00:002014-10-30T22:14:48.631+00:00Torres SE122 update<div class="separator" style="clear: both; text-align: center;">
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Congratulations to all at Bromptons Auctioneers on their highly successful sale on Monday. The guitar by Antonio Torres, SE 122, sold for the hammer price of £85,000. Had I had the money, I would have paid a good deal more for this fabulous guitar. The guitar is special to me in that it is such original condition; and is the closest therefore that many of us will get to Torres himself. Most Torres guitars I have seen have been altered or restored; some significantly. This one is virtually untouched. The new owner I am sure will value and respect this instrument. My hope is that little will be done to change it; in fact I would like to see it remain unrestored. <br />
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I was lucky enough to have this guitar to examine in considerable detail earlier this summer and I am in the process of preparing a drawing and detailed description of this guitar for other makers and interested parties to download. I will post details and prices on this blog. I have other drawings of interesting and rare guitars which I will also be making available.<br />
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Other guitars that sold on Monday were an interesting Garcia made in
1906, a fairly early guitar by Robert Bouchet, and a nice Lacote
'Legnani' model.<br />
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I am also just finishing my first copy of SE 122 ,(pictured below) and I'm very exited about the prospect of stringing it for the first time. It goes without saying that I will keep you all informed...<br />
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<br />David Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.com0tag:blogger.com,1999:blog-9062145189631527436.post-77410473921611045222014-10-18T22:31:00.002+01:002014-10-19T20:15:45.835+01:00Antonio Torres 1888 SE122<div class="separator" style="clear: both; text-align: center;">
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Every so often a guitar turns up in the workshop that you can't get out of your head. This guitar by Antonio Torres is one of those guitars.<br />
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Until recently, this guitar was simply not known about and lay in storage in the house of its owner. It is a large bodied, seven fan strut guitar, with the back made of rosewood and mahogany, and it carries many of the most iconic features of this great maker's work, such as the 3-lobed headstock and the herringbone inlay in the rosette. Although it has playing wear and humidity cracks, it is in virtually untouched condition which is truly remarkable. So many Torres guitars have inevitably been altered or restored, but with this guitar you see the work of Torres; the doming on the front, the exquisite shaping of the head and even the polish - all original and as Torres left it.<br />
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One extraordinary feature of this guitar is the grain orientation on the front as it is 3 degrees off centre. This is startling and almost unnerving at first glance. It is, however, almost symbolic of this makers approach to his craft and illustrates his insistence on using the timber available to him in the best possible way.<br />
Startling and unnerving maybe but not unique in Torres work; a Torres guitar owned by Tarrega, SE114 (also from 1888) exhibits skewed grain, as does SE99.<br />
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This guitar is due to be auctioned at <a href="http://www.bromptons.co/news/preview-bromptons-october-2014-sale-highlights.html">Bromptons</a> in London on October 27th, along with other fine guitars. I will write about this instrument in much more detail in a future post.<br />
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<br />David Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.com2tag:blogger.com,1999:blog-9062145189631527436.post-78011197938997949322014-08-01T19:39:00.000+01:002014-08-03T22:31:53.571+01:00Vuida de Manuel Ramirez restoration<br />
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I've recently finished restoring this small Manuel Ramirez guitar, built in 1919 by Modesto Borreguero. After Manuel Ramirez died in 1916 his widow kept his workshop going with the assistance of Santos Hernandez, Domingo Esteso and Modesto Borreguero. These instruments carry the 'Vuida' (widow) label. Santos and Domingo Esteso left first to continue making under their own names; Borregero was the last to leave in the early 1920's. It is fair to say that Borreguero is the lesser of the 3 makers. Later on he was to train (and be surpassed by) Hernandez y Aguardo and Vicente Camacho. He enjoyed a long life, dying in 1969.<br />
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This is a small guitar, with a scale length of 634mm and was perhaps intended as a 'ladies' guitar. The back and sides are of Indian rosewood which was unusual for this time. The guitar is simply and in places roughly built, but in spite of this has survived very well; the damage can be attributed to careless owners, rather than poor workmanship.<br />
This guitar had already been extensively repaired at some point in the past; the top had some large inserted patches, and at some point rear mounted steel string type tuners had been fitted. Initially I hoped to repair some loose back braces through the soundhole, but closer inspection revealed that the removal of the back was the only effective way to proceed, as many bars, top and back, were unglued. I also took the opportunity to make a working drawing of this instrument. I intend to make this drawing available for download in the near future.<br />
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<i>(The inside of the guitar prior to restoration)</i></div>
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The back bindings came off cleanly as did the back itself, and to my delight there was a signature and date on the inside of the soundboard. For me it was one of those poignant moments; Borregueros signature bold and assured, signed with a flourish just before the back was glued on nearly 100 years ago. I went to my reference books and found that picture of Manuel Ramirez and his staff outside his shop and there was Modesto Borreguero in his carpenters apron looking solemnly at the camera.<br />
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I took off the crudely installed cleats and replaced with linen strips. The centre strut needed partially replacing and the 2 harmonic bars needed regluing. All the back bars were removed, cleaned and reglued and some of the centre seam cleats were replaced. I also renewed a side split that had been badly repaired in the past. The back was refitted and glued and the binding reinstalled. A new set of ebony pegs was fitted, bone nut and saddle shaped and the guitar was playing again. The sound is warm and dark and whilst this modest instrument is never going to be a grand concert guitar, it has a charm of its own.<br />
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This is the second Vuida de Manuel Ramirez I have featured in this blog. You can read about the 'S.H.' Ramirez <a href="http://www.whitemanguitars.blogspot.co.uk/2010/10/ramirezsantos.html">here. </a>David Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.com0tag:blogger.com,1999:blog-9062145189631527436.post-56705543263697111612014-05-12T19:43:00.000+01:002014-05-12T19:43:57.333+01:00Brazilian guitar maker - Renato Oliveira<div class="separator" style="clear: both; text-align: center;">
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Renato and I discussing a guitar soundboard.</div>
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<i>(Photo:Natalia Mikeliunas)</i></div>
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A few months ago I was contacted by Renato Oliveira a professional guitar maker from Rio de Janeiro. Renato had been awarded a grant from the Brazilian government to travel to Europe to visit working makers to extend his knowledge of guitar making. He wondered whether he could spent some time in my workshop. I was happy to say yes and we managed to pin down a week for the end of April that suited us both. Renato was also booked in to work with Christopher Dean, and German maker Gerhard Oldiges.<br />
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David Rubio once said that you don't make a good guitar; you <i>think</i> a good guitar. I like talking about guitars with other makers. I have never felt the need for secrecy about my knowledge, and I enjoy learning about other makers approach to their craft. As the week progressed, I quickly realised that Renato and I had similar approaches to many areas of our work. With only a week at our disposal, I decided to concentrate on the soundboard and so Renato and I worked on one of my contemporary tops, with Renato thicknessing and strutting the board to my pattern but adding his comments throughout the process. It was a fascinating in-depth and intensive study of this part of the guitar, and it was very interesting for me to hear another makers comments on one of my soundboards. At the end of the week I suggested that Renato should make the final voicing to the top with no input from me; I am now impatient to get this guitar finished and see if these subtle changes are evident in the completed guitar.<br />
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Guitar making aside, it is always good to listen to visitors from afar. Renato had come to Europe with his wife Natalia and it was their first visit here. Their brief impressions of the UK were illuminating and surprising (Natalia took great pleasure in the fact we take such good care of our gardens) and it was fascinating to hear of life in Brazil. I hope the rest of their stay is worthwhile, and that they will get the opportunity of a return visit.<br />
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<i>(Below) Rosette detail from a guitar by Renato Oliveira</i></div>
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David Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.com1tag:blogger.com,1999:blog-9062145189631527436.post-5822034420167527182014-03-01T21:10:00.000+00:002014-03-01T21:10:12.369+00:00Guitar making and aerodynamics<div class="separator" style="clear: both; text-align: center;">
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I can't be the only guitar maker to have started out by making model aeroplanes as a kid. I loved making anything really so to have ended up spending my working life in my own workshop creating things is no great surprise. Model aircraft still creep into the workshop sometimes. last summer my 8 year old son and I spent happy hours building balsa catapult gliders and then spent more happy hours chasing them round the local park.<br />
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I made the plane pictured above a couple of months back. It's a Dart Kitten for those of you who are interested; a 1930s design. It is still waiting for its prop and rubber motor but test glide flights look good. It's free flight and is made as light as possible so I selected the lightest balsa I could find; then thinned it down so that you could see light through it. It weighs 9 grams; a classical guitar low E strings weighs about 5 grams.....<br />
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It was whilst I was weighing sheet balsa that I realised again the connection with guitar making. When I select guitar tops I will always take weight into consideration, the same with strutwood, and bridge material.When you build an aircraft/guitar it needs to look good but it has to fly/play as well. (I was telling all this to one of my students recently who pointed out that at least guitars don't get stuck up trees.)<br />
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The aeroplane is sitting on the back of a cypress Torres inspired guitar which I have recently finished and weighed just over 1100 grams. The plane has yet to fly but the guitar has gone and is faraway now, and singing like a bird....David Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.com0tag:blogger.com,1999:blog-9062145189631527436.post-73689795578962213842014-02-03T20:26:00.000+00:002014-02-05T19:27:30.134+00:00French guitar restoration<div class="separator" style="clear: both; text-align: center;">
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This guitar was a recent restoration commission, which I have now finished and returned to its owner. It was made in Mirecourt in northern France in 1880 in the Cherpetal workshop. It has to be said that late 19th century guitars are not in the same league as some of those instruments from the first half of the century. This particular guitar is quite robustly built and lacks the constructional delicacy of many earlier guitars; consequently the guitar is quieter and less resonant than one would wish for. However, when I lifted this guitar from its case I was struck by the pleasing ornamentation, the plain but attractive satinwood back and sides and the astonishingly bad repair that had been carried out to the bridge! The bridge had come off at some point and had been glued back roughly into place and then screwed onto the soundboard for good measure. The bridge and the surrounding soundboard had then been painted over with a thick black paste in an attempt to disguise the damage. The rest of the guitar was in fair condition; a small section of ebony binding loose and in need of reglueing, an ugly top split and the obligatory loose soundboard brace. Oh, and the table and back and sides had been crudely overfinished.<br />
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The picture above shows the loose ebony binding on the base end of the guitar.<br />
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This picture shows the bridge before restoration. I never did quite work out what that black finish was but it certainly lacked finesse. You can just make out some of the screws that have been installed in an attempt to stop it from parting company with the soundboard. The original bridge was found to be too badly damaged to consider re-using so an ebony replacement was made in the same style.<br />
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This stamp was found on the underside of the soundboard, along with the date and signatures of some of the craftsmen of the workshop. It is always good to find this information inside a guitar.<br />
To my delight the overfinish came off beautifully leaving a lovely flat and original original finish. The overfinish appeared to be some sort of shellac and was painstakingly removed with alcohol soaked swabs.<br />
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2 pictures of the finished guitar.</div>
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Old guitar cases can be time capsules. An old paper bag from a musical instrument shop in Burton on Trent contained packets of strings including these 'Cathedral' strings. The packet proudly boasts 'British Music and Tennis Strings'!<br />
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<span id="goog_1254585010"></span><span id="goog_1254585011"></span><br />David Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.com1tag:blogger.com,1999:blog-9062145189631527436.post-60902625201694015122013-11-29T21:09:00.001+00:002013-11-29T21:09:23.655+00:00Headstocks - work in progress<div class="separator" style="clear: both; text-align: center;">
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I have been making necks recently, and once I get started they seem almost to make themselves. This is satisfying and relatively simple woodwork and ending up with a nice stack of necks is most gratifying. The necks in the picture above are all from cedar although I use good mahogany too. The four headstocks on the right are all faced with some fine kingwood veneer that I picked up a few years back. Kingwood is a true rosewood, but is a rather small tree. I have seen it used for backs and sides of guitars, but it is rarely big enough for 2 piece backs. The veneer I have is saw cut at about 2mm thick, and is lovely for headfacings either in one pieces or 2 bookmatched halves. The sapwood on 2 of these heads is particularly striking.<br />
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This headstock is from Gayle's cedar and walnut guitar, now in Florida. It is from ancient bog oak inlaid with a shard of local English yew. The tuners are Waverly leaf pattern with ebony buttons.<br />
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The head above is from a guitar finished earlier this year for a client in China. It is faced in ebony and has an 'ears of wheat' inlay that matched the rosette. I enjoy making this intricate inlay even though the time involved is considerable; it makes the guitar truly unique.The tuners are Gotoh 510's. The picture below is of the same headstock. My client requested that I veneered the back of the head as well as the front which I was very happy to do.<br />
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David Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.com0tag:blogger.com,1999:blog-9062145189631527436.post-86177782922450134972013-10-26T21:12:00.001+01:002013-10-26T21:12:16.283+01:00Paul Fischer<div class="separator" style="clear: both; text-align: center;">
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Open day at the London College of Furniture 1986.</div>
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<i><span style="font-size: x-small;">(from left to right, Lily Mairants, Terry Pamplin, Marian Romanillos, John Mills, Jose Romanillos, Ivor Mairants, Paul Fischer and Herbert Schwarz)</span></i></div>
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I have recently heard that Paul Fischer has retired from guitar making after a long and successful career as an internationally acclaimed guitar maker. It seems strange to think that Paul, who has been such a force in UK guitar making will no longer be at the workbench, but I hope he may be able to contribute some of his expertise and enthusiasm in other ways.<br />
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I first met Paul in the mid 80's when I was an aspiring guitar making student at the London College of Furniture. Paul made several visits to the college and students found it very encouraging to have his support and encouragement. I remember attending a presentation of his research into alternative south American timbers. Paul had made 8 guitars, one with Brazilian rosewood for the back and ribs; the other 7 using timber that Paul had identified as being suitable alternatives. John Mills played on each guitar (from behind a screen) and a panel was asked to pass judgement on the tonal merits of each one. The exercise was a thought provoking one and Paul's careful research and enthusiasm was inspiring.<br />
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Paul started making guitars in what now seems like a different age. If you wanted a good guitar, you would have to go to Spain, or at least, go to one of the few dealers who imported Spanish guitars. Paul can be seen as one of the pioneers of modern English guitar making and did much to promote the craft. <br />
Much to my surprise, I find that I have never played one of Paul's guitars, except for a rather fine David Rubio guitar, stamped 'PF' but I'm sure I will rectify that one day. In the meantime I wish Paul a long and happy retirement. David Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.com1tag:blogger.com,1999:blog-9062145189631527436.post-68117922110469448652013-08-12T15:13:00.003+01:002013-08-12T15:13:48.103+01:00Long time no blog....<div class="separator" style="clear: both; text-align: center;">
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Well, its been a while, but in my defence I have been rather busy....<br />
I am just packing two guitars to go to America and a third guitar (that's the rosette above) has just arrived safely in Beijing. Four weeks ago saw 2 guitars off to Japan. I've run out of packing materials and now I just want to get on with making guitars and enjoying the summer with my family.<br />
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Back in May I had Mike in the workshop for four weeks, making his first guitar. These intensive guitar making courses are great fun but hard work for all concerned. Mike had spent his career in an office and wanted to branch out into something more creative and guitar making appealed to him. He started from scratch with no woodworking experience and at the end of the four weeks had a completed playing instrument. I think he could scarcely believe it. I love watching makers string up their first instrument as the thrill and excitement is all too evident.David Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.com0tag:blogger.com,1999:blog-9062145189631527436.post-29330695197367089862013-04-19T20:43:00.000+01:002013-04-19T20:43:43.969+01:00Congratulations to Adam Larison.<div class="separator" style="clear: both; text-align: center;">
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I received an exciting email from Adam Larison this week, telling me that he had just won first prize in <span>the Great
Lakes International Guitar Competition in America</span>. Adam is a fine young player and is pictured above just prior to the final round of the competition. As a maker, I am always thrilled to hear my instruments being played so well and it is great to have a gifted player like Adam presenting my guitars on the concert platform. Adam has a fine and accomplished tone and great musicality; I am very proud that he has chosen one of my guitars for his main concert instrument.<br />
David Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.com0tag:blogger.com,1999:blog-9062145189631527436.post-28981251287534273402013-04-19T20:22:00.004+01:002013-04-19T20:24:18.087+01:00Practice...<div class="separator" style="clear: both; text-align: center;">
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Springboard, Brighton and Hove's Performing Arts Festival, recently took place. Started in 1925 under the banner of Brighton Competitive Music Festival, and supported by Brighton Borough Council, it has a long history spanning almost a century. Today the festival is still going strong, having evolved to incorporate drama as well as music, and now involves nearly one thousand local
performers. Most of these, but not all, are young people between five and
twenty-five. For many years I have awarded a prize in one of the classical guitar classes and was happy to do so again this year.<br />
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The competitive element in the Springboard festival is very much in the background; it always strikes me that participation and sharing of the music is far more important. It provides a fantastic focus for a musician to prepare and practise a piece and gives them a supportive platform to perform on in front of a small audience. The adjudicator this year was guitarist and composer Gary Ryan who always gives great feedback to each of the performers - a real bonus for participants. Whenever I have attended the event I have been struck by the great sense of achievement that performers get from the experience. I hope this event continues for many years; I for one will continue to support it.<br />
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My own abilities as a musician are somewhat limited and these days I get very little time for playing. Recently however, I have thoroughly enjoyed playing my Rene Lacote copy which I recently finished. With a shorter string length and a quick response it is great fun to play, and I have been working my way through some simple pieces including Sor, Carcassi and Guiliani. I have recently been on a family break to the West Country and had a lovely room to practise in. The acoustics were crisp and lively, and the peaceful surroundings most conclusive to playing guitar music. This guitar will leave my workshop soon but I am planning on making another which I really hope I'll be able to keep keep. Who knows, if I keep on practising I might even enter Springboard next year!<br />
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David Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.com0tag:blogger.com,1999:blog-9062145189631527436.post-24159775521527982432013-03-24T22:42:00.000+00:002013-03-24T22:42:28.816+00:00Planes, guitars and hurricanes....<br />
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One of the most rewarding moments for me, as an instrument maker, comes when I hear one of my guitars being played well by a fine player. As makers, we sometimes become absorbed by the technical aspects of the instruments we build, so it is always good to be reminded that they need to work well in the hands of guitarists. A week or two ago, I was sent a couple of video clips by a fine American guitarist, Adam Larison. They featured a couple of recent performances he had done with a guitar I made for him last year. Watching the clips, I was excited and thrilled by how Adam made the guitar sound and it made the stresses of the guitar's export all worthwhile.<br />
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Sending this guitar out to the US caused me a lot of sleepless nights. There was the small matter of entrusting a valuable guitar to a shipping company. Having spent many hours building the guitar, the thought of it being thrown around an airport shipping depot is painful. However well packaged (and however fully insured) the guitar is, the thought of it being damaged or destroyed is unbearable.<br />
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I dispatched the guitar with DHL, a company I have used before and have confidence in. Picked up from my doorstep, it was soon at East Midlands airport awaiting dispatch. Tracking it on the internet I was dismayed to suddenly find its progress had been halted. A quick call to DHL revealed that an HMRC code number needed to be generated. HMRC were extremely helpful and promised to put this in place, but they work and their own pace (... leaving a lot of time to imagine the worst happening to the instrument).<br />
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Eventually the consignment was released and it was a good moment when I saw that it had arrived at the DHL facility in the US. New York was being battered by Hurricane Sandy at the time, so further delays were fully anticipated, however they did not materialise and soon the guitar was in Adam's hands.<br />
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Thankfully no harm had come to the guitar, and Adam's performances on it can be viewed<a href="http://www.kennedy-center.org/explorer/videos/?id=M5351"> here</a> and <a href="http://www.youtube.com/watch?v=KdWDYD9fZXI&feature=youtu.be">here</a>. The first clip is of a complete performance at
the John F. Kennedy Centre for the Performing Arts in Washington. Adam
Larison plays at about 11.30 minutes into the video, but please listen
to the other performances too, they are well worth hearing. <br />
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<br />David Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.com0tag:blogger.com,1999:blog-9062145189631527436.post-36119800128703619402013-02-19T22:09:00.000+00:002013-02-19T22:09:46.252+00:00In the workshop...<div class="separator" style="clear: both; text-align: center;">
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As we are well into the second month of 2013, I really thought I should present an update on some the work that is progressing on my workbench. The workshop has been a warm and attractive space to be in, and I have only made the occasional foray out into the cold and wet Sussex countryside. The picture above is of a top I have been strutting this week. This is a strutting pattern that I have been using for about 7 years and although I refine it almost constantly, I am sure that it is the pattern that I will be using for many years to come. It is essentially a reinforced fan strut pattern, but is a little more complicated to make as there is some painstaking fitting of interlocking spruce struts.<br />
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Regular readers of this blog will know of my interest in 19th century guitars and this guitar above is a recently finished copy of a guitar by Rene Lacote. I say finished; in fact it is now being polished and the bridge is yet to be made, but I call that finished! I have been able to make a very faithful replica, as I have had the original in the workshop whilst building it. I am going to write a complete post on this lovely little guitar when it is strung, so watch this space.<br />
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These 4 guitars have not really featured on this blog before, although as they are all rather pretty they may well merit a photograph or 2 when finished. They are all being polished at the moment and I am getting into quite a rhythm with my polishing. Polishing 5 guitars at once (these 4 plus the Lacote) takes up a reasonable part of the morning but as I have said before, I find it relaxing, even meditative.<br />
And finally, the four bridges below are all matched with the four guitars above. I don't always polish bridges, sometimes preferring to finish them with an oil finish which gives them a soft, satin lustre. These bridges are being polished however and the one furthest from the camera is destined for a drop shouldered cutaway guitar, hence the slightly more contemporary design.<br />
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<br />David Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.com0tag:blogger.com,1999:blog-9062145189631527436.post-39851917929623866852012-12-16T22:18:00.000+00:002013-02-02T09:57:49.313+00:00Ries copy completed<div class="separator" style="clear: both; text-align: center;">
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Just before Christmas I finally completed this copy of a terz guitar by Nikolaus Georg Ries. This had been a long standing project and more can be read about it<a href="http://whitemanguitars.blogspot.co.uk/2011/02/nikolaus-georg-ries-terz-guitar.html"> here </a>and <a href="http://www.whitemanguitars.blogspot.co.uk/2011/03/reis-and-reis-copy.html">here</a>. I had built this guitar for my own pleasure and education, but once strung it remained in my workshop for less than a day before being enthusiastically purchased. I had a lot of fun building the guitar and learnt much from it. I was lucky to have the original in the workshop throughout and so was able to make a very accurate copy. The picture above shows the original in the process of being restored, my copy, and a full sized modern classical guitar for scale. This small guitar is tuned a third higher than a standard guitar, has a scale length of 574 mm, and has a bright, lively sound. For such a small guitar it has surprising volume and is great fun to play.<br />
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Making replica guitars presents a number of interesting challenges. It becomes clear when you first look at the original terz guitar that it was built quickly and economically. The quality of the timber is good and is all European; maple for the back and ribs, spruce front and the neck, fingerboard and bridge are stained or polished to look like ebony. The decoration in minimal, with simple purflings on the top but the back is completely unbound. Inside the original, the workmanship was confident and skilled but not refined, and tool marks were visible on the struts and the inside of the top. This was a functional working instrument that would have been produced quickly and cheaply. My guess is that the Ries workshop could assemble one of these instruments in a few days. I originally intended to make this guitar quickly but inevitably other commisions took priority. My only significant departure from the original was the use of a 2 piece, rather than a single piece, maple back. Also, as the original bridge was missing, I had to take specifications for the bridge for my instrument from other sources.<br />
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Not the best picture of me I'm afraid (this is as close as I get to smiling for the camera) but it does show the petite size of the guitar. This picture was taken on a bitingly cold morning; the instrument left the workshop a few hours later and I felt bereft. I must make another when I have time...<br />
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The original guitar is being carefully restored by 19th century guitar expert, James Westbrook and in the past week he has completed the work on it and strung it to tension. The restored original is shown below. I was keen to play this guitar and to see how it compared to my copy. As mentioned, the small size of this guitar and the shorter scale length contributes much to the sound, and I was struck between the similarities of my new copy, and the original.<br />
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<br />David Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.com0tag:blogger.com,1999:blog-9062145189631527436.post-6035837595885684102012-10-28T06:49:00.000+00:002012-10-28T06:49:46.473+00:00Walnut<br />
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It is a shock to find that my last post here was in July in the middle
of a rather wet and cold English summer. Much has happened in the
workshop, guitars finished and started, new tools and equipment acquired,
restoration work both completed and on going and an ever growing to do
list.Much to my frustration I find myself without a camera at the moment,
and my phone isn't quite up to the job of capturing first class images. I
need to remedy this situation soon. so the picture at the top of this
post is an oldish one, although it is the start of a new guitar and one
that I hope to feature on this blog in the next month or so. The back in
the picture is English walnut and when I bought this a few years ago I
was absolutely captivated by its subtle beauty. Walnut is an overlooked timber for guitar back and sides and is not that easy to find ( the English variety anyway) but I would like to acquire alot more of this fantastic wood.David Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.com1tag:blogger.com,1999:blog-9062145189631527436.post-26900263542162546612012-07-23T08:53:00.002+01:002012-07-23T08:55:28.915+01:00Headstocks<div class="separator" style="clear: both; text-align: center;">
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I seem to have writen about older guitars for some time now, but in fact I am working hard on my own instruments as well. Building my own contemporary guitars provides a nice contrast to the careful restoration of historic instruments, and when my brain becomes too addled with one, I can seek solace in the other.<br />
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The past couple of weeks has also seen a couple of commissions being prepared for collection and delivery - it is strange to think they are now in far flung parts of the world.<br />
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I have been preparing necks and headstocks for future commissions- 6 in total. I have written before about preparing batches of parts and it is something I find very satisfying to do. Recently, a visitor to the workshop described this as 'mass production' but that is far from the case. I would be happy to prepare a few more necks, but it would hardly compete with the big guitar making factories, and certainly not those that are using CNC equipment to produce virtually finished items. For me, using the simple hand tools of the artisans workshop is an efficient and practical way to make a small batch, such as the necks in the pictures. The relevant tools and jigs are all to hand and the pillar drill (for drilling the machine head barrel holes) is set to correct drilling depths.<br />
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The picture below shows 4 of the necks just prior to drilling. Taken late in the evening at the end of the long hot day in the workshop, the colours really do not reflect the beauty of the woods used on the head facings.<br />
From left to right; thuja burr, ziricote, prehistoric bog oak and African ebony. The 2 heads not in the picture are both African blackwood.<br />
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<br />David Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.com1tag:blogger.com,1999:blog-9062145189631527436.post-88082257719312884122012-06-22T12:05:00.000+01:002012-06-22T12:05:01.260+01:00Ries<div class="separator" style="clear: both; text-align: center;">
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The workshop has never been busier. I was saying to someone recently that it was almost too busy, although in fact I like it like that and it means I have to be really organised with scheduling my work. I do not always find this easy, as the creative process of making or restoring a guitar is one that cannot always be hurried and I am resolute in putting the quality of my work first.<br />
I have 2 guitars in the early stages of construction, 1 awaiting frets and polish, 2 guitars being polished ( I am always polishing), 2 guitars that the wood is selected for, plus restoration work lined up into 2013.<br />
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For light relief I have been making a copy of a Terz guitar by the Viennese make Nikolaus Georg Ries. I am now polishing this guitar and will be stringing it up when I have time. As it is for my own amusement I can only work on it occasionally, but I have great fun with it as it is so different from my normal full size, modern classical guitars.<br />
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The picture above shows the simple barring on the front. The originals must have been made very quickly,; knocked out almost. The picture below shows the head and neck with a sealer of clear polish and the big shiny buttons of golden shellac that I am using for the back and ribs of the guitar.<br />
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( For more on the story of this guitar click <a href="http://www.whitemanguitars.blogspot.co.uk/2011/02/nikolaus-georg-ries-terz-guitar.html">here</a> and<a href="http://www.whitemanguitars.blogspot.co.uk/2011/03/reis-and-reis-copy.html"> here</a>).<br />
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<br />David Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.com0tag:blogger.com,1999:blog-9062145189631527436.post-23014133280664491552012-06-13T20:53:00.001+01:002012-06-15T10:33:19.929+01:00<div class="separator" style="clear: both; text-align: center;">
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The restoration of the guitar by Francois Roudhloff is now complete and the instrument is strung up to pitch. (More details of the restoration can be found <a href="http://www.whitemanguitars.blogspot.co.uk/search?updated-max=2012-05-04T10:26:00%2B01:00&max-results=7">here</a> and <a href="http://www.whitemanguitars.blogspot.co.uk/2012/06/roudhloff-restoration-part-2.html">here</a>). This has been a most gratifying process and I am very pleased with the final result. This is also one of the nicest <i>sounding </i>19th century guitars I have played - always a bonus.<br />
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This guitar is now returned to how it was originally; the replacement fingerboard removed and an authentic bridge and peghead made. The wonderful finish on the back and ribs is completely original. This colour doesn't come out of a bottle, but takes almost 200 years to achieve.<br />
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After the major work had been completed there were a number of small tasks to finish; replacing a small piece of ebony veneer on the back of the neck, gluing up a couple of hairline cracks, fret fettling, peg fitting, and making a new nut. The new nut (above) is made of ebony and in the picture you can see the strings slots being marked out onto the nut blank.<br />
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The 2 pictures below show the old replacement head and the new head. It is nice to be reminded of how the instrument was and the improvements that have been made. It is very easy to be dismissive of previous repair work but, in fact, the headstock I replaced was a functional repair that perhaps guaranteed the survival of the instrument. A broken guitar may have been discarded but this guitar continued to be used and enjoyed.<br />
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The guitar still has, what is almost certainly, its original case (pictured below). Although not offering the protection a modern case would give, it adds greatly to the character of the guitar. The new replica bridge can be seen in the picture, as can the lighter patch left by the modern classical bridge that had been fitted at some point. I have left this patch to darken down naturally as, in the long term, I feel this will give a more satisfactory result.<br />
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That concludes this restoration, and I am looking forward to returning it to its owner. If you have read this blog and get the impression I enjoyed working on this guitar, you would be absolutely right!<br />
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<br />David Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.com0tag:blogger.com,1999:blog-9062145189631527436.post-56063248272429490452012-06-07T22:52:00.000+01:002012-06-07T22:54:12.673+01:00The wood so wild - part 2<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH7itXkNvHJxh9XRzSfVyH1HRPSY23WfQaXei_5USldQfe6KrsOrugAlrbx6uPQZbqAu8hx30cJMpe4BjnFJWPTb8vuKuKM6yRGwtP76AwYIt_M0DMs3a0jqTx3SF1ikI51d-Bi1zcIE8/s1600/april+restoration+062.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5733023970717725890" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH7itXkNvHJxh9XRzSfVyH1HRPSY23WfQaXei_5USldQfe6KrsOrugAlrbx6uPQZbqAu8hx30cJMpe4BjnFJWPTb8vuKuKM6yRGwtP76AwYIt_M0DMs3a0jqTx3SF1ikI51d-Bi1zcIE8/s400/april+restoration+062.jpg" style="display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 300px;" /></a><br />
Earlier on in the English spring, I journeyed over to David Dyke's in East Sussex to pick up some fretwire, and to have some rosewood cut. A full account of this trip can be seen <a href="http://www.whitemanguitars.blogspot.co.uk/2012/04/wood-so-wild-eastertide-trip-to-david.html">here</a>. I acquired some striking sets of English yew and I have posted pictures of these two sets as I think they are really rather wonderful.<br />
Yew is a magical timber and much folklore has been connected to it. It has been seen as a tree of significance for many thousands of years, and can still be seen in many old churchyards.<br />
It can be quite problematic to find clean sections of timber suitable for guitars; it grows in a wild and distorted way and much of it is beset with knots and other defects. It is however a lovely timber to work, with a fine silky feel. These two sets are light and resonant and will make delightful guitars. I will let them season in my workshop a little while longer; I am so looking forward to using this wood.<br />
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The rosewood David cut for me is the last of a huge baulk of timber I purchased many years ago from a retired cabinet maker in Essex. He had spent much of his working life making gun cabinets for one of the big London shotgun makers (Holland and Holland I think). He had purchased this piece of rosewood from them, and they had had it since the early 1900's. Dark and fragrant, this is a wonderful timber, but I will not be purchasing any more as it is endangered in its native Brazil. This ancient piece of timber yielded a number of beautiful 4 piece backs, one of which is pictured below.<br />
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<br />David Whitemanhttp://www.blogger.com/profile/02931665028989601289noreply@blogger.com0