Dear Scot, thank you so much for the comment. Yes, those guys are fantastic musicians and apparently very good teachers. I learn a lot of period technique and so. I will come to visit the forum as much as I can. We keep in touch! Yutthasak
I was reading a few of the comments here and I read that spruce was used for necks. I don't know if you've ever seen the tables of MOE's of various woods but spruce is way more elastic than the open grained hardwoods usually used...Sitka is down a few steps from the strongest...Douglas fir and yellow larch...which I use periodically for soundboards and especially braces...it taps well and is of a medium weight...old growth quartered wood is best...it splinters like a demon but it could be used...way more elastic than mahogany, Spanish cedar, maple. Several species of Larch are the stiffest and most elastic...Larch is a kind of pine and various pines work well too. I use good pine for soundboards on period instruments. I used an oak or hickory brace very early in my career to experimentally induce an arch in the top of an archtop jazz guitar. My bouzoukis are induced but bending in all directions is difficult so I shaped a heavy brace with a re-curve built in. Over the space of several months it flattened out and when I removed the brace, it retained the shape that it had assumed! Maple has given me similar result. that is when I really delved into the elastic properties of wood...not just the "strength" but the "memory" of the wood. modulas of elasticity is the standard by which we should judge all woods that are going to be under tension.
I just want to thank you for your help in my efforts to build an early Romantic 7- or 8-string guitar. I really appreciate your expertise and input. I'll probably start the "conversion" project after the holidays. I'll keep you informed of the progress.
I hope you are enjoying the "sunny" Pacific Northwest as much as I am. It's really quite "lovely" here today.
There is a player in Colorado who wants me to make him an all mahogany uke, I have some really nice mahogany that I have been saving just for that. I once heard an all mahogany guitar played by a wonderful finger stylist, wow, what a guitar!
Had a gentleman from New Mexico comment on my blog yesterday, telling me he is making a a guitar from your Martinez plans. He was wondering what the guitar would sound like if it was made entirely from mahogany, I suggested that for his first guitar he stick with "traditional" woods. Just wanted to let you know that folks are still making the Martinez. I have a friend who keeps bugging me for another one, maybe when I'm settled back in Colorado I'll make him another.
Hi Scot Thanks for your kind comments. My thesis is not published yet (beyond the Library of DIT Conservatory of Music and Drama in Dublin, Ireland). I hope to get it up on the web for all to see in the near(ish) future.
Bandoras have 15 frets; angle where sides meet the neck - bandoras meet it like a guitar (although so do some citterns including Jakob's Delaplanque!); suspiciously few curves in the length of the sides visible; bandoras were still around in Germany (but not elsewhere as far as I know) at the very beginning of the 18th c., but had certainly disappeared by the 2nd half; I recognised the painting.... I'm now mostly involved with citterns and wire strings, although I've made a lot of 4 and 5 course guitars in the past. Need to specialise as I'm getting old and stiff and supposed to be writing a book!
My good friend in Arkansas sent me this email today: I am tickled that you let Scot Tremblay know about the Martinezes. Has he built many to this pattern? I may simply be smug or biased (or mildly hard of hearing), or both,but I doubt that any could sound much better, if at all, than mine.
The Martinez that is in Arkansas has eastern black walnut back and sides, a Douglas fir top and my friend can't stop raving about it! He keeps emailing me to say how wonderfully balanced it is! The second one I made has maple back and sides, with a Douglas fir top and wow! what a powerful little guitar! I swear it out plays all the large body classicals I have made. My friend keeps urging me to send the maple one to him also, but it is such a wonderful guitar to play that I can't part with it just yet. I'd like to make a couple more, but I am so busy with work and school that I just can't find the time to get into the shop these days!
It's an quite honor for me to receive a comment from you, because the Martinez that I copy is the one you drew for GAL! It was also the very first guitar I ever made back in the late '90's, it's now owned by a very capable player in Little Rock, Arkansas. I had troubles with the original tie block bridge and ended up installing a modern Spanish bridge on the guitar. They are wonderful guitars!