|The Staff at Gruhn Guitars with the Eric Clapton Collection|
Gruhn Guitars of Nashville, Tennessee has just announced it is offering the sale of 29 guitars owned by Eric Clapton. This sale runs the gamut of acoustic and nylon string instruments to electric guitars and bass guitars.
Two guitars are pre-WWII Martins, while others are custom shop one-of-a-kind guitars. Each guitar will be accompanied by a photo of Clapton with the guitars and a signed letter by him attesting ownership and provenance. Be advised that you will need a rather fat wallet when you make the trip.
|1941 Martin 000-45|
The asking price for his 2014 personal Fender Custom Shop Stratocaster is $42,500.
Among the other pieces offered are the following:
|1931 Martin OM-28|
A 1931 Martin OM-28, which as already been sold at an undisclosed price.
|1980 Santa Cruz|
A 1980 Santa Cruz FTC-17 that was recently restored by Santa Cruz guitars and is going for $30,000.
|1998 Gerundino GF1|
A 1998 spruce top Gerundino GF1 Flamenco guitar that Clapton purchased in 2006 has been sold.
|2003 Gerundion GF4|
Another Gerundino Flamenco guitar. This is a 2003 model number GF4 with a cedar top has already been sold.
|1929 National Tricone|
A gorgeous 1929 National Style 3 Tricone resonator guitar that Clapton purchased in 2006 and Derek Trucks used on a tour that same year is offered, but has been sold.
Gruhn’s is also offering some of Clapton’s Fender Custom Shop Stratocasters and a few have already been sold.
|2007 Crossroads Strat|
His black 2007 Crossroads Antiqua Foundation Stratocaster, number 1 of 100, which was built by Mark Kendrick, features a 25 db active boost, and Fender noiseless pickups is going for $35,000 with hardshell case.
Two Porsche Atlas Grey 2006 Custom Shop Stratocaster have already been sold.
A 2009 Fender Custom Shop Stratocaster in Daphne Blue, featuring Fender noiseless pickups and an active boost has also been sold.
His 2011 Fender Custom Shop red Stratocaster that he used for warm-up before shows.
|2006 Blackie Relic Strat|
Another Fender Custom Shop creation was Clapton’s 2006 “Blackie” relic. This guitar has been sold.
|2007 Crossroads Strat|
A 2007 black Fender Custom Shop Stratocaster that was built for Clapton's Crossroads Antiqua Foundation by Fender custom builder Dennis Galuszka is also for sale. Asking price is $35,000.
|2014 Buddy Holly Style|
A 2014 Fender Custom Shop Stratocaster in the style of Buddy Holly’s guitar, with a two-tone sunburst finish has been sold.
|2007 Gibson SG|
Clapton’s 2007 Gibson SG Standard features a cherry finish, however it has been sold.
|1991 Firebird V|
Clapton’s 1991 red Gibson Firebird V with a two-tone headstock (red and black) has also been sold.
|2000 Epiphone Les Paul|
A 2000 black Epiphone Les Paul with a white pickguard (signed by Les Paul) and a Bigsby vibrato has been sold.
Clapton’s 2015 Gretsch G612TCB-JR, which was given to Clapton by guitarist Ed Sheeran has been sold.
|'80's Roland Synth Guitar|
A 1980’s Roland G-505 Synth guitar unit was offered for sale, but has been sold. This is similar to the one used by Randy Bachman in the Guess Who and Bachman Turner Overdrive.
|'80 MusicMan Fretless Bass|
Clapton has offered a sunburst 1980 Fretless Music Man Stingray Bass which has already been sold.
|2009 Byrdland Custom|
Clapton’s beautiful cherry red 2009 Gibson Byrdland Custom with dual humbucking pickups has been sold.
Another natural maple 2009 Gibson Byrdland Custom with a single alnico pickup has also been sold.
|2013 L-5 Wes Montgomery|
Clapton’s sunburst 2013 Gibson Wes Montgomery Custom L-5 that he used at the Royal Albert Hall has been sold.
A gorgeous handmade Alexandr Svistunov 17” archtop acoustic guitar with a violin finish, made in the tradition of Stromberg guitars has been sold.
|'41 D'Angelico New Yorker|
Clapton is also parting with his collection of vintage D’Angelico guitars including a 1941 3 tone sunburst D’Angelico New Yorker that he purchased in 2006. The asking price is $20,000.
|'38 D'Angelico Excel|
His 1938 dark sunburst D’Angelico Excel, with a 17” top and a DeArmond pickup has already been sold.
|'45 D'Angelico Style A|
Clapton’s 1945 D’Angelico Style A with a natural finish and a DeArmond pick can be yours for $20,000.
|'37 D'Angelico Excel|
A 1937 dark sunburst D’Angelico Excel that he purchased in 2006 has been sold.
|2013 D'Angelico Excel|
Two newer 2013 D’Angelico guitars are also offered including a 2013 D’Angelico Excel that was handmade in the USA with a 3 tone sunburst finish and a single pick is offered at $20,000.
|2013 D'Angelico Style B|
And finally a 2013 sunburst D’Angelico Style B, which was handmade in the USA is priced at $20,000.
You can see these at Gruhn Guitars at 2120 8th Avenue South in Nashville, Tennessee 37204.
Please check out my Guitars Currently Available page to see the specs of available guitars and to read what internationally known guitarists are saying about my guitars.
If there is one that you are interested in, please call or email me for more details. It is best if you call me, that way we can discuss the individual guitar, payment and shipping options.
I can ship guitars for approval upon receiving a cashier's or bank check for the total price of the instrument. You will have 48 hours after receiving shipment to decide if you wish to keep the instrument. If the guitar is returned within this 48 hour period, I will refund payment. If the instrument is not returned within 48 hours, it will be considered sold. All costs for shipping and insurance are the responsibility of the customer.
I look forward to hearing from you!
It is always amazing when two iconic brands team up to bring fans new music. That's one of the reasons we teamed up with Stetson for their new video series.
The talented, Nashville rebel Nikki Lane strummed her new single "Highway Queen" for the series at the Electric Lady Studios recently. During the performance, Nikki Lane dons a classic Stetson hat and a 000-15SM strung with light gauge SP Lifespan strings. Her third album will be released on February 17th, 2016. You can watch Stetson Presents: Nikki Lane Powered By Martin Guitar here.
Willis H. Wagner, Modern Carpentry, 1992
Yesterday was Day Five of framing the new workshop.
I replaced the header over the door with a longer header, the door opening was too close to the east wall, I was afraid that you would bump into the wall when you entered the building. The opening was shifted to the west.
Then it was a matter of nailing up sheets of OSB shearing to keep the building from falling down.
I need to buy some 3/8" thick exterior grade plywood to cover the OSB and finish the exterior, but I want to prime and paint it before I put it up. The temperature didn't get above 24 degrees Fahrenheit yesterday, and there was a good breeze which made it feel even colder! Not the warmest day for swinging a hammer or for painting!
It is nice to walk through the door opening instead of squeezing through wall studs!
This shop will have a bank of five upper windows and three big windows, these will be approximately 30"x40", giving me plenty of light to work by. I will make the sashes by hand, I have a feeling I am going to get to know my Stanley No.45 plane very well this winter! I don't want to set up a router and router table to rout the rails, stiles and muntins, too much noise and dust!
I was hoping to fly the rafters today, but there are a few errands to run. The walls need to be "string lined" and straighten, the rafter pattern needs to be temporarily put in place to see if it fits properly so I can cut the other rafters.
Once the "lid" is on, I can pull wire and insulate. There is also the matter of finding a nice propane heater and having a gas line run to the building.
I can't wait to finish this shop!
I don’t really need to use clamps when gluing up a dulcimer peghead assembly but I feel better knowing the clamp is there. Hide glue added to a clean and well-fitting joint grabs and pulls the joint together as the hide glue sets up.
Clamping the parts together at an angle is tricky but in the photograph you can sort of see the peghead and the block beneath it are pressed up against an angled block of wood covered with wax paper. The peghead is clamped to the work board and there is wax paper on the work board as well.
This arrangement keeps parts from sliding when downward pressure is applied to the joint. They probably wouldn’t slide anyway since I’m using hide glue but I feel better knowing there is no chance of a rude surprise.
The wax paper prevents someone from getting a dulcimer with a work-board and an angled block of wood stuck to the peghead. That would make the dulcimer difficult to tune and it would be hard to find a case that fits.
After everything is clamped up I clean up the squeezed out glue with a rag and warm water. This is another benefit of hide glue; it cleans up with warm water and a rag.
You can see more photographs of dulcimers in progress and other stuff by following me on Instagram.
I was thinking about Narciso Yepes going blind at the end of his career and how he must have learned music differently. He would have needed to memorize chunks of it after first reading and this reading would have been by looking at the score with a large magnifier. Doing he would have registered the music as imagined sound with the internal images of where our fingers go to produce those sounds.
Students who try to do this because they don’t enjoy reading music create a precarious situation – if you learn something wrong it is very hard to change. There is a period of assimilation and acculturation that young minds need to work through. Western art music is a series of cultural constructions and our brain needs to amass quite a bit of data in order before one can hear new pieces and predict what might come next.
For an artist of Yepes’ experience this was not an issue, and I think of him learning a phrase, then closing his eyes immediately afterwards as he played thorough it a second time. Closing the eyes allows them to rest, a very important thing with deteriorating eye issues. It would also impress the notation on the imagination: writing the music straight onto his brain.
Simply closing your eyes changes everything as the visual stimulus decreases, other brain functions can manifest. These are the processes that are key to music making, imagining the sound and conjuring how to produce it. The body will figure how to do it if you trust it. Narciso at this point in his life had no choice just like Stevie Wonder never had a choice to watch his fingers. It marvelous to think of musicians so far apart in style united in their approach.
Nasrudin was coming back from a friend’s house very late one night when he saw a man sleeping on the grass smelling of drink. He went closer and saw the man to be a judge, well known for handing down sever penalties for moral offences, so, between snores, Nasrudin removed the judge’s coat and slippers and went home.
The next day, having realized his missing clothing the judge ordered his enforcers to check every house and to bring the thief to court. Nasrudin was soon before the magistrate who asked where he had gotten the slippers and coat.“Well, you see, I borrowed them from a drunk lying in a gutter last night. I would like to return them, do you happen to know him?” Realizing the dilemma, the judge dismissed the case.
I made a mistake last night that I regret. I was with close friends, people I care about deeply and treasure in my life. Although we are pretty much on the same page when it comes to politics when the discussion turned personal and we began speaking about how the current political climate affects our very lives I couldn’t keep my frustration in check. My friend’s two children have spouses from other countries and they are trying their best to expose their children to positive attitudes about race, gender and equality, all things that are vitally important. The husband of my friend’s daughter was recently confronted with outright bigotry for the first time since he moved here from his native Cayman Islands. It was disturbing, to say the least and I felt their pain and anger. My friends went on to describe how one of their grandchildren attends a school that is attended by a widely diverse student population and both they and their son and daughter-in-law are thrilled with how much diversity is celebrated and demonstrated there.
But here’s where I lost my cool. I listened for a while (as I have before, for what it’s worth) but something was missing form my friend’s adulation of “celebrating diversity.” And that was a core value: No matter how much we embrace diversity, in the end, we are all Americans.
What does that mean, exactly? Many things, now more than ever and I’ve given this a lot of thought throughout the months leading up to the recent election.
I guess I couldn’t help myself and exclaimed (too loudly) that if we lose sight of that in celebration of our differences there is a very real danger that we will lose sight of who we are as a whole. My friend countered that this celebration of diversity is nothing new, think about the old Italian American and Portuguese American and Irish American Clubs of our parent’s generation, he said. They celebrated their heritage, and they still do today. But wait, I said. In all those clubs you would surely find American flags on display, and meetings almost always started with the Pledge. This may sound a bit out of date in our modern, melded, connected and somewhat smug world, even a bit corny, but the take-away was that no matter how many times they called each other paisano or padre they knew that they might not have the freedom to do that if not for core belief in their country or the sacrifices of those who came before. I wondered aloud (again, too loudly) if the diverse student population of my friend’s grandchildren’s school happened to have a flag in their school or if the Pledge was part of their daily curriculum. Perhaps they do and I am totally off base. I have not been there so I cannot say.
Before I go any further I want to state categorically that I deplore people who wrap the flag around themselves as they practice racism, prejudice, misogyny, intolerance and hatred. The perversion of American values and beliefs must cease if we are to survive. Let’s not forget that we are ALL immigrants (although I know Native Americans have been here much longer than Europeans) and it wasn’t so long ago that the very people who are demonstrating such disgusting intolerance today probably had grandparents or great-grandparents who faced similar hatred.
So how does any of this relate to music? For me anyway, certain songs can sometimes sum up the way I feel about many things. In this case it is Paul Simon’s masterpiece, “An American Tune.” The last verse says it all.
“We come in a ship they called Mayflower,
We come on a ship that sailed the moon.
We come in ages’ most uncertain hours, and sing an American tune.
And it’s alright, oh it’s alright, you can be forever blessed.
Tomorrow’s gonna be another day and I’m trying to get some rest,
That’s all, I’m trying to get some rest.”
Peace & good music,
Marples Chisels with rubber grip handle, 1/4", 1/2", 3/4", 1" wide blades, purchased in 2004.
One Wagner Safe-T-Planer kit w/ original box, planer, instructions and replacement blades. Used once, purchased in 2007.
One hand made carpenter mallet, red oak handle, maple head, made in 2002.
Three unmarked coping saws, two circa 1960's, one from 2005.
One hand made chair devil, Claro walnut body with ebony and scraper blade. Made in 2003.
One Starrett micrometer, circa 1960's with owner's name on it.
One 1/2"wide Veritas Tenon cutter with brass depth setting gauge, purchased c.1999.
One AMT brand spoon gouge used from carving violin tops and backs, with hang hole, c.1999.
One French made pencil dividers, original screw is missing to hold pencil
One Fuller brand Phillips tip screwdriver, 1960's vintage
One Stanley brand slotted screw driver for hand brace, 5/16" wide, c.1950's
One slotted screw driver for hand brace, GP bar over Eye surrounded by a heart mark, with no. 352
One 5/16" fluted reamer for hand brace, Diamond "C" mark
One Victoria brand hoof knife, purchased 1986.
All tools in good to good++ condition. Wagner Safe-T-Planer is near mint.
Please ask questions and I can supply more photos.
An American made adjustable stick and rabbet plane, with, I presume, a beech body. Fair condition. Fully boxed, 1/2 inch wide ovolo profile, metal screw adjustment. Plane measures 9 1/2 inches long by 2 inches wide. One original beech wedge, the other appears to be mahogany, both have been modified a bit. I bought this from a local tool dealer who claimed that planes made by S.E. Farrand are desired collectibles, I bought it with the intent of making a copy of it. I have never used it. Please ask questions and I can send additional photos if wanted.
Maybe if I wrote lyrics like that I would have won a Noble prize? Bob Dylan did!
|Bob Dylan - Susie Rotolo on the cover|
In the mid 1960’s Bob Dylan wrote many wonderful songs with poetic lyrics which were sometimes very bizarre. Some of his music and some of the lyrics were taken from older folk songs. No worries, as those songs were public domain at the time. But most of Bob's songs were pure genius.
|Bob Dylan - Albert Grossman|
When manager/impresario Albert Grossman took him on as a client, it seemed like Dylan became famous overnight.
|'63 Dylan -Washburn - North Country Blues|
I've been a Dylan fan since I was a kid in the mid 1960's, so I thought it would be interesting to take a look at the guitars that Bob Dylan has used throughout his career.
|Bob Dylan in High School with Stella guitar|
The next guitar he is said to have owned was a Silvertone Aristocrat 642 Archtop. He played this in a high school talent show. It is currently on display at the Hibbing, Minnesota public library.
|Dylan with '49 - 00-17|
Dylan's first decent guitar was a 1949 Martin 00-17 all mahogany guitar. He was probably inspired by his hero and mentor Woody Guthrie. Guthrie played "00" and small bodied guitars. In pictures and videos of his early concerts Dylan is usually seen playing a small body guitar. This one look like it has been through the mill.
|Dylan with Gretsch Rancher|
When he was a young man, Bob also made use of a 1950's Gretsch Ranger.
|Bob with Washburn 5250|
In 1963 Dylan showed up at the Newport Folk Festival with a Washburn model 5250. This guitar had a slightly arched top, with a round sound-hole. The strings went over a wooden bridge, that was held in place by the strings. Then the strings were secured to a trapeze tailpiece.
|Dylan with Washburn Tanglewood guitar|
|Dylan with 1950's Gibson J-50N|
His next guitar was a late 1940’s Gibson J-50N. It must have been a model made after WWII because it does not have the Only A Gibson Is Good Enough banner. This guitar had a teardrop pickguard and is featured on the cover of “Bob Dylan”. This guitar was lost or stolen.
|Dylan with Gibson Nick Lucas Special|
The original Nick Lucas models from that era had trapeze tailpieces. Later models featured the belly bridge.
|Bob's Gibson LG-1|
In 2006 a photographer was touring Gibson's Montana facilities when he spied two Gibson LG-1 with tags that had Dylan's name on them. Bob had ordered the custom shop to build them, perhaps because he was so fond of the Nick Lucas guitar, which by the way was based on the LG-1 body with a 13 fret neck.
|Dylan -Baez - Martin 0-45|
Dylan borrowed a Martin 0-45 from Joan Baez, who he was dating at the time for a performance at the 1964 Newport Folk Festival.
|Dylan with Gibson J-200|
Dylan also owned several Gibson J-200 guitars that were played in concert. One was a gift from George Harrison. One was custom made by Gibson and it had a double pickguard.
|Dylan with Martin 0-18|
Bob Dylan was also fond of Martin 0-18’s and 000-18’s and can be seen playing both. In a 1974 concert to benefit the nation of Chile; a country in the midst of a revolution at the time.
|Dylan with Martin 00-21|
Dylan owned and is photographed here with a Martin 00-21. During the 1960's,
|Dylan at '65 Newport Folk Festival|
Folk singer Pete Seeger became so angry it is said that he wanted to cut the electric lines going to the stage. (Other accounts say, that he was just yelling, "Cut, cut" in an effort to make Bob and The Band to stop playing.)
|With a '60's Strat and Ampeg amp|
Some black and white photos from the session at the Colombia recording studio A, show Bob playing the Strat.
|Fender Jazz Bass - Bandmaster - Jaguar|
Possibly from the same photo shoot we also see him with a 1960's Fender Jazz bass, and a 1962 Fender Jaguar.
|Dylan playing a Fender XII|
In a poster for the Bootleg Series Volume XII, we see Bob playing a Fender XII.
|'65 Fender Jazzmaster|
In another publicity photo Dylan is seen with a 1965 Fender Jazzmaster.
|John Sebastian - Bob Dylan - ? Bass|
|Playing a Fender Kingman|
He also received a special Martin guitar through his guitar tech, Cesar Diaz. This was a Martin OM-28 Perry Bechtel model. Bechtel was an entertainer in the 1930's and requested that Martin create the OM style guitar with the neck joining the body at the 14th fret. Note the pyramid bridge.
|Dylan with Martin D-28|
Dylan also played a Martin D-28 at the Concert for Bangladesh and a HD-28 in the Rolling Thunder Revue.
Bob utilized a Yamaha L-6 for the Budokan Tour.
|Dylan with Yamaha L-51|
This guitar had an unusually shaped headstock.
Then later on he used a black Yamaha L-52.
|Dylan with Yamaha L-52|
The L-6 is a low end Yamaha, while the L-51 is a solid wood guitar with an unusual rippled headtock. The L-52 model has a jumbo body, like a Gibson J-200, only with squared off upper and lower pickguards and a bridge similar to a Gibson Dove. This was a nice guitar, with cloud inlays on the ebony fretboard. Yamaha offered this model around 1972. Paul Simon also used a similar guitar.
|2001 Negative Martin|
Bob must have liked the look of the black Yamaha L-52, since around 2002 Martin came out with a Negative HD-28, which had a black body and a white neck and headstock. Dylan had one commissioned with twin white pickguards and used it in a 2002 concert.
|Dylan with Stratocaster|
For as much trouble as the electric guitar caused for Dylan, he did not play it in concert as much as his acoustic guitars. His best known electric guitar would be the 1960’s sunburst Stratocaster that he played at the Newport Folk Festival in 1965, when he got booed while playing “Like A Rolling Stone”.
|The Strat that Dylan used in 1965|
It was also featured in some early pictures of him in a recording studio. He only used it a few times and then it went missing.
|1965 Dylan with Telecaster|
Dylan also played several Telecasters starting in 1965 with a sunburst model with his band called The Hawks.
|Tele used with The Band|
One of the more interesting guitars that Dylan is said to have played, but not owned, was Mike Bloomfield's 1963 Fender Telecaster.
|Bloomfield's Tele - before and after|
Bloomfield also recording those guitar licks on Highway 61 Revisited with this guitar and Dylan is said to have borrowed it during the recording sessions.
|Bob with Kramer Ferrington bass|
While in the Traveling Wilburys, Dylan sported this 1987 Kramer Ferrington bass guitar.
|The Traveling Wilburys|
He is also seen with the Wilburys posing with this Gretsch Silver Jet.
|Dylan with Gibson Hummingbird|
Around 1993 Dylan played a Gibson Hummingbird guitar in concert.
|With a Gibson Black Dove|
A year later Bob was using a Gibson Dove.
|Dylan with Gibson J-45|
Dylan also owned a Gibson J-45 with twin pickguards.
|2016 Nobel Prize|
In 2016 Bob Dylan was honored as the recipient of the Nobel Peace Prize in literature.
© 2016, Guitarz - The Original Guitar Blog - the blog that goes all the way to 11!
Please read our photo and content policy.
© 2016, Guitarz - The Original Guitar Blog - the blog that goes all the way to 11!
Please read our photo and content policy.
We looked at Heartfield guitars once before with this RR-58 and I mentioned that I would love to see it in green ( it's kind of a thing for me, green guitars ) and lo and behold here we have a green Heartfield RR-59.
I think it looks incredible.
I've yet to get my hands on a Heartfield guitar but given the quality level of guitars coming out of Japan at the time I can only assume it plays as good as it looks.
Currently on eBay for $699 U.S.
© 2016, Guitarz - The Original Guitar Blog - the blog that goes all the way to 11!
Please read our photo and content policy.
I’m a daydreamer. I always have been. One of my current favourite hobbies is going to zillow.com to check out super-expensive homes for sale or rent in Laurel Canyon, then kinda just blissing out over the idea of waking up there, making a coffee, strolling out to the deck with an acoustic guitar and tweedling out some licks while while taking in the aroma of the eucalyptus trees. I’ve met people who don’t daydream at all, or who mistake daydreaming with goal-setting. I’d bloody love to live in Laurel Canyon but I’m not actively working towards it and I’m not fussed if it never happens: it’s just nice to go there in my head for a bit. Anyway, while pondering the nature of daydream recently, I remembered one of my favourite daydreams.
It was in December 1991. My family used to go to the seaside town of Bermagui every year right after Christmas. The seven-hour drive was always pretty brutal, but by ’91 I had a kickass tape deck that fit right behind my seat in dad’s four-door Ford F-150. Jam some headphones in that sucker, crack open a MAD Magazine and zone out until the next pee/snack break (my favourite was the town of Adaminaby, with its giant Rainbow Trout sculpture. Seriously, you’ve gotta go see that thing). That year my brother Steve gave me Mr. Big’s Lean Into It album for Christmas, and I brought it along for the ride, along with a few of my other favourites at the time: Steve Vai’s Passion & Warfare, Metallica’s ‘Black’ album, Van Halen’s For Unlawful Carnal Knowledge.
So here’s where the daydream comes in. I remember this as clear as if it happened yesterday. As I listened to Lean Into It‘s opening track “Daddy, Brother, Lover, Little Boy” I started to think about how awesome it would be to record a song with Paul Gilbert. I could picture it all so clearly. It would be an instrumental shred duet. We’d both be playing Ibanez PGM models because Paul would totally have given me one because we’d be best mates of course. Our song would start with a driving riff then kick into an awesome call-and-response verse. Then badass harmony chorus. An even wilder call-and-response second verse. Badass harmony chorus again. Then we’d each take extended solos. Paul’s would be really cool. Mine would utterly wipe the floor with him. I mean it would slay that dude. Poor Paul. And he’d be cool about it, of course, because he’s such a nice guy. And we’d make a video for it. It would be Paul and I, walking along a highway (the highway we happened to be driving along while I was having the daydream), kickin’ dirt on the side of the road. The camera would focus on a nearby snake before re-focusing onto me and Paul shredding on the road in the distance. We’d do some takes of us shredding in the middle of grassy fields. Maybe put a foot up on a fallen tree for a killer rockstar pose.
And the name of the track would be “Shredfest ’93” because I was a realist and I figured I wouldn’t be good enough to wipe the floor with Paul Gilbert within one calendar year, but I’d probably be able to do it by ’93.
Of course part of the thing about daydreams is they’re allowed to be impossible.
Members of the US Fish & Wildlife Service visited Martin Guitar last week to help assess the impact and compliance requirements of recent CITES (Convention on International Trade of Endangered Species of Fauna and Flora) on our business and the music industry in general. The largest changes result from the listings of Rosewood and Bubinga species on CITES Appendix II, which take effect on January 2, 2017. Although the USFWS is still determining exactly how the changes will be implemented, there are some things we do know.
All imports and exports containing any wood from the listed species, from raw materials through finished goods (guitars), will require a CITES permit of some sort. There are some minor exceptions for non-commercial transports, one lesser-used rosewood species (cochinchinesis) and shipments with both woods and goods originating in Mexico.
Manufacturers will need to invest time and money to establish CITES Master Files/Clones, Single-use permits and augmented inventory reporting to comply with import and export regulations. Effectively every instrument shipped internationally will incur an additional expense.
Retailers looking to ship product internationally will have to become familiar with the new regulations and to determine whether or not it is worth their time and effort to ship instruments containing these woods.
Ultimately this may move the needle on the types and volumes of woods used on musical instruments as well as consumers’ perceptions and buying habits.
These recent changes caught most of the Music Industry, and some of the CITES Authorities, unaware. As a result, folks on all sides are scrambling to comply. This points to the need for more direct monitoring of, and interaction with, the parties involved in the CITES species proposal and listing processes at all levels.
The good news is that the USFWS seems eager to work with companies to implement in a manner that works for all sides while still complying with the spirit of the regulations. Martin Guitar is thankful for this considered approach.
Jim Tolpin, The New Traditional Woodworker, 2010
I am building an new workshop/studio on the exact spot and using the same footprint as the old garage that I dismantled early this month.
Working in the upstairs of our house has been a great joy, but I need to move on to another space and allow my wife and I to enjoy our house as a house again.
The original garage was built in 1964, (I was born in 1962!) by some very capable carpenters, as I discovered when I took the building down, but it had no real foundation and no look outs on the eave elevations which was causing the roof to sag.
After searching on the Internet, I found some wonderful plans for a shed building which I have adapted to build my own space. Those of you who have been following my blog know that I was a framing/finishing carpenter for many years, it is nice to frame again, but at my own speed without nail guns and air compressors filling the air with 21st century noise.
The floor joists are 2x6's on top of ground contact rated 8x8's.
The original footprint was 14'x 20', more than ample size for me, my hand tools and guitars
One thing I learned from an old time carpenter is to layout the roof rafters on the flooring deck, do all the work on the floor and not in the air. This afternoon I realized that I had failed to account for the shear thickness on the walls, I will have to add 7/16th's of an inch to each end of the the other rafters before I fly them.
I am working by myself, this wall was framed in two sections, one was 12' long and the other 8'. Much easier to lift a short wall than a long wall. This wall is 7'6" tall, the south elevation will have a 10'4" tall wall with lots of windows. I was hoping to frame that wall tomorrow, 11/22/16, but the forecast is for snow and I ran out of 8d nails today, which are used to attach the OSB shear to the framing. The tall wall I will have to build in three different sections, again, I am working by myself and I don't own any wall jacks.
Stay tuned, more pictures of the framing process!
A couple of weeks ago a guitarist asked his friends what their preferred warm-ups were. This question brought in a flood of responses with various things from scales to right hand arpeggios to studies cited. I find this kind of thing problematical because it seems more important to warm up the brain and soul. In thinking exclusively of the body we create and maintain an artificial schism.
The musical process starts with imagining the sound as richly as possible. One’s own sound includes the particular instrument, preferred touch and articulations as well as various volume levels. These elements are in addition to the rhythms and pitches that make up the music one is playing. In warming up the hands one tends to look for speed and physical ease.
This division started during the enlightenment, as teaching methods started to reflect a step-by-step process. Reading about J.S. Bach’s approach to composing for students we have an account of him beginning a piece for a pupil, demonstrating the first few bars, before the master went on to finish the piece in a flurry of inspiration. Teaching always included the musical experience. The step-by-step process posits a division between physical and musical learning. Now have music exams where the time one has to allot for scales exceeds the time needed for repertoire. We have studies that are not considered as musical as repertoire for they are allotted only a minimal number of marks.
By contrast, I have discovered that improvisers depend on mental flexibility to begin working. Robert Fripp [league of crafty guitarists] and Karl Berger [creative music studio] both employ rhythmic games to create alert players who can readily adapt to any musical need. The late Paul Bley once credited selling his piano as a significant learning experience: he had to come up with simpler ideas to work with because he couldn’t hide behind a nifty lick
I like to think that creating music brings us closer to how the composer feels. There is evidence to suggest that while improvising [or composing] a different part of our brain is activated specifically the medial prefrontal cortex. While doing this, the judging brain [dorsolateral prefrontal cortex] quiets down. This would explain that when students listen to each other’s compositions they listen to them differently – they hear music as if it were a brain storming activity.*
As we judge we also tend to censor and the more we do this the further we move away from the creative act. In a world that demands faster-louder-higher-longer we lose the joy of music. Play with your guitar and play with the music, simple joys really matter.
One day returning from his vineyard with sacks full of ripe grapes on his donkey’s back, Nasrudin came upon a group of children who asked if they could have some grapes. Nasrudin gave each child one grape and when they complained about his stinginess were met with the reply: “All grapes taste alike, so it is of no interest to taste more than one – you have one and you might as well have sampled them all.”
- notes for this paragraph come fromhttp://www.bulletproofmusician.com/why-improvisation-should-be-part-of-every-young-musicians-training/