Jimmyjames wrote:
At this juncture I've yet to actually buy anything specifically related to Lutherie. Why not you ask? Because I'm trying to figure out exactly what to buy to minimize the "oops, I need this lil' dilly, and that lil' bit" and I've spent a fortune in shipping. I'd rather just kill two stones with one bird and get the whole lot. There's so many choices regarding a build "will the crystals really impart the finest tone to my guitar?". There's a massive amount of tools to do the same job: power tools, PRO-GRADE is announced with thundering authority, laser guided drill presses suitable for Darth Vader's Woodshop. And everyone says this tool is the best. I like tools I can sharpen. I'm primarily concerned with the type of steel a tool is made of. I've no interest in the fancy modern metal, cryogenically frozen to eight atmospheres. I just want it to work and get terrifyingly sharp. So I had to dig through all the sources of said tools and make some decisions. There was a bunch of paper and pencil keenly involved in this process, frantic scratching of graphite and soon I had 27 pages of notes, questions, ideas, a hijacked scheme culled from Cumpiano, random internet "gurus", and of course the folks down at The Official Luthier Forum, whom I might add are clearly the finest people you ever did meet.
It was kind of a mess. The woodworker in me felt as though I was staring at 54/379ths and wondering where I'd find such a ruler? So I set off to simplify. I condensed the entire guitar making process to simplified instructions, it now read on a total of two pages. I had conquered the massive amount of information into a digestible sum. I drew pictures of important measurements that made sense to me. Then I fought to simplify the tool list. I was generally a hand tool person but Cumpiano says "don't do this by hand several times. I needed to research alternative methods to get around buying a router. It wasn't that I didn't want to buy one, it was that I didn't want to own one. I'd routed many a channel by hand, even carved them. Who wants wires and bits they have to buy over and over. I didn't. I discovered lo and behold that guitars were successfully made before the advent of power tools. Dedicated men and likely some women made guitars completely without motors and cords. But how? Slowly I started to see tools that made sense to me. I contemplate each operation and how it will be achieved. Routing the binding seems like the most challenging woodworking part of making a guitar. The idea of a high speed router here makes zero sense to my inexperienced mind, I'm thinking it sounds like a disaster, I see a high speed motor causing outrageous chip out. Then I discover the Gramil and I'm sold, oh it comes with an old fashioned steel blade. I'm smitten with the Gramil, completely full of smit. I recompile my tool list over and over. There's the hardware store list, the specialist Lutherie supply list, dedicated tool company list and then there's tonewoods.
A feature of guitar players is that there's this part of their mind that doesn't grow up. All of us believed in nonsensical middle school era ideas. Clung to them like we were holding on to _The Raft of The Medusa_. Dirty fretboards are "seasoned" and play better, there's wood with "magical" properties if harvested by an axe when planets are aligned. We've all heard them out entire guitar oriented lives. Most if it pure bullspit. So what to choose? In the real world of guitars my only guidebook that's entirely sincere is my experience playing them and what I liked. At seventeen I got my first real guitar, she had an ebony fretboard that was as slick as oil. I was absolutely certain that wood was magic. That fretboard was worth every hour I worked at my crappy teenage job. The guitar itself was a hideous product of eighties hair bands, a fad that I gladly avoided but I was certain the classical guitar designed ebony fretboard was worth it. Later I bought a brand new Martin D1-R, the cheapest Martin I could get that was completely made of wood and there was some rosewood involved. This was the era when Clapton did "Unplugged" and I was hooked on that album and also really glad the days of heavy metal were numbered. Clapton opened up a new world of guitar for me and I was excited about it. I gladly abandoned the electric guitar, a repair shop actually stole my amp claiming they couldn't find it. I didn't care this acoustic thing was a visceral reality that made so much sense. The sound of that Martin with the rosewood was a step in the right direction but it lacked an ebony fretboard that I could glide upon. I noticed that I would routinely over power the top and it would distort. I'm very hard on a guitar, I'm not the guy who in a field picking daisies I'm the guy hitting it with all I've got when the dynamics call for it. The expressive nature of an acoustic guitar completely eclipses the capabilities of an electric and I was exploiting every bit of it. Later I would discover that another form of spruce would tolerate my excessive banging in a Collings OM. This guitar was my first real instrument. Was back to an ebony fretboard, the top could handle the beating. I played that thing eight hours a day. In my old age I will blame Collings for my inept finger joints. An OM was a small guitar but it was LOUD! I like the small, hotrod size, it felt more like an electric with all the benefits of acoustic. Over the course of my life I started to really figure out what I liked in a guitar. I wasn't the sort of person who had a quiver full of instruments. I just kept one and played it. From each guitar I had my own collection of absurd beliefs: ebony fretboards are for people who use the whole fretboard, rosewood backs and ribs are kind of harsh but I liked the volume and the speed of the attack. Some spruce is for gentle fingerstyle players and others for people that abused the strings. Mohagany seemed to usually be a better guitar but the sound was less harsh and the attack a tad bit slower. All guitars sound like utter poo when new, I regarded visiting a guitar store as form of torture because I knew I'd play a few. Bracing: no clue, bridge plate: even less of a clue, effects of other parts such as bindings, purflings, rosettes, mother if pearl were completely unknown. I was sure that a tighter built guitar was a factor so I would wing it with tonewoods that I'd experienced firsthand. I saw no point I trying to build an ultra exotic experiment. The tried and true firsthand experienced woods seemed like the most logical path. Everyone I've known who had a Brazilian Rosewood guitar had cracks and they babied their guitars to the point of not playing them. I don't look at guitars, I play them. I never bought with my eyes but with my fingers and ears.
I made lists, I searched the luthier supply houses, called the local specialized wood guy who basically said he had nothing I could use except ebony. It seemed like the Luthier specific places would have better quality because they knew more about what I was looking for than I did. My local guy didn't understand anything. He thought I could joint ebony and make a fretboard which I could but I seriously doubt it would hold up to real use.
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LMI has the Kit Wizard (more mythical Lutherie references) and compared to anyone else I was most impressed. I could choose nearly any type of material. I like options and I like things exactly like I like them. In the entire marketplace LMI's Kit Wizard is the clear winner. I salute you guys for doing that. Thanks. The other companies seem to have a different focus. Stew-Mac seems to be very tool focused and there's many ingenious ideas, some seem like the greatly improve the speed and accuracy of the job. I've read where people complain about the price of Lutherie specific tools and I think the complainers should make a tool from scratch for a very limited market, do marketing, branding, and experience firsthand the economic realities and then they can complain all they like. I for one am glad someone makes this stuff that's specific to the task. Thank you. These two companies appear to win the race for my money. LMI for the kit and I'm particularly impressed that they will do the parts of the job that can be cost prohibitive or particularly intimidating to do in the beginning for very reasonable prices. I for one am going full tilt on my guitar so I learn as much as possible but I'm glad someone offers these services should something go completely awry. Stew-Mac scores my money for many tools, they clearly have done some homework and provide instructions, demo videos, et cetera.
Individual wood supply companies are probably cheaper but realistically, it's a far greater hassle than the Wizard makes a very complex project much easier. Sold.
My total in tools and materials so far is a staggering $1,455 American dollars. Seems a paltry sum for the experience and skills gained. In subsequent builds I'm sure I'll add to my arsenal of tools and wood but for now all that I can do is pull the trigger.
I think I see a cage match with Hesh in the future!
Alex