Official Luthiers Forum!

Just beautiful Arnt.

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Dave
Milton, ON

Gorgeous!

I sure would love to hear it!

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Todd Rose
Ithaca, NY

https://www.dreamingrosesecobnb.com/todds-art-music

https://www.facebook.com/ToddRoseGuitars/

Arnt, very nice indeed. I've got a cocobolo/ euro going myself right now.

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Jim Watts
http://jameswattsguitars.com

A very beautiful, honest guitar, Arnt

Just curious, in the design & construction of the box -is there anything you can share
about what made it your best sounding guitar?

thanks for sharing your work,

john

I like everything about it, too. And Coco is such amazing stuff! Cheers!!!

Ever since first joining up to OLF, I am stunned almost daily by the shear quality of work that is produced by so many. Another stunning example and if there as any JUSTICE in this world the craftsman on here would get the same exposure and recognition afforded to the bigger maunfacturers.

As a player, its so nice to see that we really are living in a 'golden era' - not necessarily from the large manufacturer, but simply because of the quality of small independents that have made said manufacturers up their game.

Lovely stuff.

Hell if I know! Besides, who knows what you'd think about it?

Seriously, I think it's just that I'm becoming more familiar with all the different parameters that you can use to shape the sound you are after. Lots of builders are much better than me at analyzing, measuring and figuring out what's what about shaping wooden boxes to sound this way or that. Nothing about the construction of my instruments are out of the ordinary, you've seen it all a million times, its all variations on the Martin style really. This one has a nice, stiff soundbaord, tapered in thickness from around 3.1 mm around the soundhole and up, down to about 2.5 -2.8 mm around the perimeter of the lower bout, "A"-brace pattern above the soundhole, slightly forward shifted x-bracing and tonebars, softly scalloped and feathered out before the linings, smallish maple bridge patch, what else? Oh, I put in a "musser brace" along the back of the bridge plate, but I shaved it almost all away as I didn't like what it did to the bottom end. My concave sanding dish for the top that I made long ago was supposed to have a 25' radius, but it is actually is a bit tighter, so that probably does something to the sound too.

I like ebony bridges as I think they help mellow out some of the harsh, metallic high frequencies that some steel string guitars get. The bridge is 8.5 mm at the highest and weighs in at 26 g. Unbleached cow bone nut and saddle, individually compensated for each string, projects about 4 mm over the bridge at the highest. I also think that the carbon fiber bars I'm adding to the neck helps the clarity of the notes, especially in the higher positions.

So there you have it, no secrets or groundbreaking discoveries. What I'm really looking forward to is hearing how it will develop when I hear it again in some time.

Thanks for all the nice comments, everybody!

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Rian Gitar og Mandolin

It is very interesting seeing the effects of small and subtle changes on tone. I have very little practical experience having only just started number two, but with the first I was amazed at the tone of the thing - I took several risks in altering the bodyshape froma standard and thus had no bracing plans - so just sort of positioned it by what 'looked good - after an initial scollop, tap tone was considered by my tutor to be great - (I had nothing to compare it to so it could have been a dog for all I knew - but I remember that tone now!). Do you brace in exactly teh same places if making the same size again or do you adjust the bracing positions based on the top used?

What is great about this building malarky is that there are as many variations on the build process as there are builders and I would bet they all yield wonderful results - so is the care and attention say to thicknessing and tone wood quality combined with the way the inside is cleaned as well perhaps a bigger influencing factor that brace position (if using X bracing or modified?)

Would love to hear your thoughts(and those of the more experienced and pro builders on this) - Does it all in the end come down to the experience of listening to the tap tone and knowing, or is exact duplication and then subtle whittling down the ideal?

Tasteful, elegant, Arnt you have mojo!

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http://www.dickeyguitars.com

Sort of like "I've upped my standards, so, Up yours!" ?

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Waddy

Photobucket Build Album Library

Sound Clips of most of my guitars

Arnt,

It's interesting what happens to the sound when you keep the top thicker and put a bigger dome in it. What's the projection like?

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Dave White
De Faoite Stringed Instruments
". . . the one thing a machine just can't do is give you character and personalities and sometimes that comes with flaws, but it always comes with humanity" Monty Don talking about hand weaving, "Mastercrafts", Weaving, BBC March 2010

Flotte greier Arnt

I can only echo some of the others here, elegant guitar.
i find myself more drawn to the 'clean' guitars, and this sure is clean.

See if you can talk Andreas into recording a clip to share .


Frank

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Frank

Very stately Arnt! Love that cocobolo and the rosette is beautiful in it's simplicity.
-Chris

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Christopher C. Cordle
North Muskegon, MI

http://www.yardsaleunderwear.com
http://www.facebook.com/christopher.cordle

WOW!! vERY NICE INDEED!

What kind of glue did you use with the cocobolo?

Dave, it projects nicely, I think. This top dish is the only one I have used, so I’m used to the results I get with it. Whatever is contributed by the geometry of the dish is part of my sound, I guess.

Robbie, I used fish glue. Freshly prepared and well fitted joints seems to be the key.

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Rian Gitar og Mandolin