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“Back When I Used To Listen To Music…”

I Heart Guitar - Sun, 06/11/2017 - 21:36

“Oh yeah, I was into them back when I used to listen to music.”

“That band is still together?”

“They were the soundtrack to my teenage years.”

I’m a music journalist, and a dad in my late 30s. That means I run into a lot of parents, some my age, most a few years older. It seems that most parents that I run into had their kids later in life than we did, and indeed a lot of my classmates are having their first kids now, while my son is 10. And the sentences quoted above are something I hear a lot when I chat with fellow parents. Inevitably the question of ‘What do you do for a living?’ comes up and I find myself explaining my cool-ass job. And I inevitably hear things like those statements, and others like “I used to listen to heavier bands but I grew out of it” or “I have no time to listen to music now.” It really hit home with the passing of Chris Cornell, when a bunch of friends on Facebook posted things like “You’re my favourite, I used to listen to you all the time,” as if Euphoria Morning wasn’t fucking phenomenal, or like Audioslave didn’t exist, or King Animal wasn’t a thing. That really bummed me out because Cornell continued to make music every bit as vital as those big Soundgarden records. He never went away and his standards never slipped (well, there was that one pop album but even then, dude was following his muse).

I know I’m lucky because my job forces me to listen to new music. It’s the same as in any profession: you can’t really do it to the best of your ability if you’re relying in information that’s 20 years old. Still, it makes me sad that there are people out there who are my age and who would have been raised on the same diet of 90s alternative, industrial, metal, grunge and other now-retro-but-then-nowtro stuff, who think of music as something in their past rather than something that grows with them. The musical nostalgia industry is fuelled by the power of music to make you remember how you felt at the time you first heard it, but there’s no reason you can’t continue to bring new music into your life to serve as the soundtrack to where you are now. Hell, Spotify is like twelve bucks a month. YouTube is free and it’s loaded with new music. It’s so easy now to find out what your old favourite bands are doing today or, even more importantly, to find new ones that can represent you and your feelings.

Something I’ve been doing a lot of lately is going back and listening to things I never really had the access to check out back in the day, when in order to listen to a band you had to either buy the record, hear someone else’s copy or catch it on TV or radio. I loved the Cure songs I saw on the Australian music video show Rage, but my CD money was always spent on metal and shred. Now I’m digging further and deeper into their back catalog and more recent records, and while many of these tracks are over 30 years old and totally new to me, they’re finding a place in my heart that’s every bit as important as Dirt or Passion And Warfare or Fair Warning. Now I’m catching up on bands like The Replacements, or filling in the gaps of my knowledge of The Cure, or getting into Crowded House non-album tracks. But I’m also checking out newer artists like Between The Buried And Me, Rival Sons, St. Vincent, Northlane… and this music, all of which is new to me whether it’s new or not, has its own emotional resonance for my present-day life. I can still always put on Living Colour’s Stain or Ministry’s Psalm 69 to remember how I felt at 16, but I can also put on Ryan Adams’ Prisoner or Periphery’s The Price Is Wrong to capture how I feel today at 38.

My buddy Dean Delray, whose podcast Let There Be Talk is an essential listen, is always talking about this. He always hears folks saying “There are no great bands any more.” There are fucktonnes of them out there. But to hear them you have to own the fact that maybe the music you loved as a teenager wasn’t any more special than the music today’s teenagers are listening to: it’s just that you heard those songs at a time that was special to you, and you’ve associated the excitement of ‘first kiss, first beer, first party’ with those bands as part of one whole package of nostalgia. That’s totally cool, but see it for what it is and let yourself feel the same way about new music that can accompany new moments. Music is vast and beautiful and alive and you don’t need to stop listening to new music the moment you turn 18.

The post “Back When I Used To Listen To Music…” appeared first on I Heart Guitar.

Categories: General Interest

COME HANG WITH US AT CMA FEST

The Martin Guitar Blog - Thu, 06/08/2017 - 05:00

We'll bring the Martin Dreadnoughts, you bring the jam session!

Festival_Telluride.jpg

Martin Guitar will be in Nashville, Tennessee this weekend for CMA Music Festival. You can find us on 2nd and Broadway where we will be jamming all weekend, giving away cool gear, plus the chance to win a Martin guitar! Come visit us between 10AM-6PM Thursday, June 8th through Sunday, June 11th. You can find a full list of festivals Martin Guitar will be attending here.

Also don't forget to catch performances from Martin Ambassadors Dierks Bentley, Thomas Rhett, Sam Hunt, Brandy Clark, and Hunter Hayes during the weekend. For a full list of 2017 CMA Music Festival performers, click here.

Categories: Manufacturers

From these old walls…

wilbeau - Wed, 06/07/2017 - 09:59

Sitting on my deck looking out over fields that are under cultivation, with an old terraced mountain behind them, I think of the valley that lies between. I got on a bus nine days ago to come to this village in order to write some music free from distraction. Here, at the busiest time of day I might see ten people in a cafe and be passed by three cars and a motorcycle. No need to hurry, the shopkeeper might keep you waiting for ten minutes as they finish a converasation on the phone.

In the midst of this tranquility I wonder about various kinds of internal suffering. There is of course the Buddhist doctrine, “All life is pain.” Today I seem to equate busy-ness with pain. One of my students told me that he has been able to concentrate much better since he had his knee replaced a couple of years ago. He figured it was the unconscious underlying pain that prevented him from paying more attention when he played guitar.

I have spent decades training myself to pay attention, to the music as I learn it, to my students as they play and to the people that share conversations with me. Since reading about the problems of “internal dialogue” in Carlos Castaneda in the 70’s my life’s work has involved managing my ability to focus.

For all these years of work there has been an underlying theme – to communicate something of musical value. One might say this is about attracting a certain kind of attention. Here, I play my guitar, far away from my friends and colleagues: there is no hope for attention. As I was playing the other day something very interesting began to happen: the melody of the piece started to take on another character. In my imagination it felt like a sustaining instrument. Between these medieval walls in this apartment in an old village, the tune came through as never before.

So, as the melody continues in my imagination as a sustained line, I convince myself that it might be possible to project  this sense to the listener. They might hear a flute or a violin playing the tune. There might be some sleight of ear taking place – there might be magic.IMG_0037IMG_0035


Categories: Learning and Lessons

Hear Adrenaline Mob’s New Song ‘Lords of Thunder’

Charvel Guitars - Tue, 06/06/2017 - 16:49

 

Adrenaline Mob released new album We the People on Friday, June 2, and new single “Lords of Thunder” can be heard below.

Main members Mike Orlando (guitar) and Russell Allen (vocals) focused their writing efforts on the band’s third studio album on recent political events and their sentiments towards the current climate.

The heavy and melodic track “Lords of Thunder” reinforces that polarizing theme with the following lyrics mixed in between impressive soloing from Orlando.

You can die today or you can join with me

So let your voice be heard and tell us where you stand

We value the word of each and every man

Listen to the track now, and also watch the official video for We the People’s opening track “King of the Ring” below. The band is also about to head out on the road this summer. View tour dates here.

Categories: Manufacturers

Totally Guitars Update with Matt – June 6th, 2017

On The Beat with Totally Guitars - Tue, 06/06/2017 - 15:26
Master Your Favorite Tune with the online guitars lessons from Totally Guitars! Totally Guitars News Podcast Hi Gang, Last weekend TG Central was treated to host our fearless leader, Matt Williams. I’m sure the long time members remember when Matt was all over TG, especially with our series of TG Live webcasts. On Sunday we […]
Categories: Learning and Lessons

Shinichi Ubukata ES-355

Gibson Electric Guitars - Tue, 06/06/2017 - 09:26
Shinichi Ubukata ES-355"Shinichi Ubukata is a highly regarded guitarist and songwriter in Japan. He began his career in 1998 as guitarist for the band Ellegarden, who released five albums in Japan as well as several EPs and maxi singles, and shared stages with groups like Sum 41 and Foo Fighters. When Ellegarden went on hiatus in 2008, he formed his own group, Nothing's Carved In Stone and has released eight studio albums with this band. For his signature model ES-355, Ubukata requested several unique features, in...
Categories: Manufacturers

2017 Summer Sale

Learning Guitar Now - Tue, 06/06/2017 - 03:52

I only run two sales a year and now is the time for one of them.

Save on almost all the Download Versions for many of the courses I have created for learning how to play blues and slide guitar.

This sale won’t last long so be sure to take advantage of this discount as there will not be another sale for a long while.

Shop Now

Course Bundles
Blues Guitar Core
Play Like Series

Thanks for the support!

The post 2017 Summer Sale appeared first on Learning Guitar Now Blog.

Categories: Learning and Lessons

Custom Rick Toone Headless, fan-fretted T2 Telecaster

Guitarz - Mon, 06/05/2017 - 10:11
guitarz.blogspot.com:






I'm not going to get into too much detail. The pictures speak for themselves on this one. Either you love when some one takes a tried and true design and turns it into a unique beast, or you hate it. There is rarely someone in the middle on these issues.

This Rick Toone T2  is designed to be polarizing. The craftsmanship may speak for itself. It looks extremely well made and has all the elements of a great guitar.

What I'm mostly offended by is the price, $17500 US.

Admittedly I know very little about the Luthier Rick Toone apart from the fact that I've heard his name before, and have seen one or two of his more ergonomic offerings.

Has anyone here own/played one of his guitars? Is it worth the hefty price tag?

R.W. Haller


© 2016, Guitarz - The Original Guitar Blog - the blog that goes all the way to 11!
Please read our photo and content policy.
Categories: General Interest

MARTIN MONDAY: THE EXCEPTIONAL SALES EVENT HAPPENING NOW

The Martin Guitar Blog - Mon, 06/05/2017 - 07:16

A truly eXceptional event is happening at an authorized Martin dealer near you!

Exceptional-PA4-May-June.jpg

Starting May 28th, 2017 through June 28th, 2017, you can head to an authorized Martin dealer in the USA to save up to $200 instantly on select Martin guitars including the PA4 models, D Jr, models, LX models, and X-Series models.

Hurry up and find your Martin Guitar dealer here to save.

Dealer participation may affect discount amount.

Categories: Manufacturers

SJ-200 Birdseye

Gibson Acoustic Instruments - Mon, 06/05/2017 - 04:49
SJ-200 Birdseye More than just the legendary "King of the Flat-Tops," as it was proclaimed upon its unveiling in 1937, the SJ-200 Birdseye matches this iconic model's bold projection and clear, rich tone with the exotic look of AAA birdseye maple, for a gorgeous one-of-a-kind Super Jumbo.
Categories: Manufacturers

Montana Gold Quilt Special

Gibson Acoustic Instruments - Mon, 06/05/2017 - 04:49
Montana Gold Quilt Special This luxurious rendition of the "King of the Flat-Tops" belts out a legendary sound that's matched only by the incredible cosmetic detail found throughout the instrument. Quilted AAA maple back and sides, abalone top trim, mother-of-pearl inlays and gold Grover Imperials combine to make this a gorgeous one-of-a-kind SJ-200.
Categories: Manufacturers

J-35 Vintage Collectors Edition

Gibson Acoustic Instruments - Mon, 06/05/2017 - 04:48
J-35 Vintage Collectors Edition This Limited Edition delivers the look, feel and sound of a seasoned vintage instrument in the form of our popular J-35. Gibson Acoustic's master luthiers have created a beautiful flat-top sure to be coveted by acoustic players, with subtly elegant looks, upgraded features, and the tone of a well-aged guitar.
Categories: Manufacturers

J-45 Koa

Gibson Acoustic Instruments - Mon, 06/05/2017 - 04:28
J-45 Koa The J-45 is Gibson’s best-selling acoustic of all time. First introduced in 1942, this popular acoustic is now the flagship of its round-shoulder, dreadnought line, and is world renowned for its full, balanced expression, warm bass and excellent projection. This Limited J-45 features beautiful solid Koa back and sides, gold Grover open-back tuners, and our beautiful, one-of-a-kind, hand-sprayed Honeyburst finish.
Categories: Manufacturers

Random musings....

Cape Cod Acoustics - Sat, 06/03/2017 - 14:49
As is my habit from time to time in this space, today’s entry will be totally random. No apologies, just a fair warning!
 
I am always looking for new gear that will make my gigging and teaching experiences easier and I recently bought a cool little device that falls in that category. It is called the Quiklock music stand. Part of my quest with all new gear I buy is to make my set-up more condensed and easier to transport and set up. This thing helps. It is a music stand/holder that attaches horizontally to a mic stand. While not as spacious as a regular music stand it holds two lead sheets side-by-side on an arm that is adjustable both in the distance from the stand and angle of the back that holds the music. It attaches to the stand via a clamp. I’m not entirely convinced the clamp will hold up in the long term (that is a complaint in reviews of the thing) but for now it seems to hold just fine. I doubt I would trust it to hold something valuable like an IPad but it serves the purpose with printed music. There was a time in my gigging life that I scoffed at people who didn’t have ALL their music memorized and needed a music stand. Not anymore. Seems like many if not most single performers use them or an IPad holder these days. I do know enough to bring along clips to hold the music to the stand in case it’s windy. Anyway, I recommend this inexpensive little device if you don’t want to lug a full size music stand to your gigs.
 
My favorite song lately is a great one by Ry Cooder called “Tattler.” His recording features his fine guitar playing but also a full band so I had to adapt it somewhat for my own use and use with students. What a sweet and catchy tune! It has a bit of a Caribbean or New Orleans vibe too, which immediately attracted me. Check it out if you can. Ry Cooder is hugely respected in the singer/songwriter world although he doesn’t have the wide recognition of some. His work as a writer, player and producer is stellar. Also, it was Ry who brought the wonderful Buena Vista Social Club musicians of Cuba to the attention of the world. In some small way, I believe that his work with them may have contributed in some small way to the opening of relations with that country and more exposure to its rich musical heritage.
 
I recently bought the first electric guitar I’ve owned in a while, a semi-hollow body by a company called Prestige. I got a very fair deal on it locally; it is in perfect condition. There is a bit of mystery about this company. While their web site says they are based in Vancouver, Canada (there is no label in the guitar, but it is number 000113!), a person on the Acoustic Guitar Forum stated that it was in fact made in Korea at the same factory that makes Peerless Guitars and I believe this is the case as it is identical to one model they make. Peerless is producing some of the finest archtops made overseas and my hero, jazz guitarist Martin Taylor consulted with them to produce his signature model. They are rather expensive and fairly hard to get. My Prestige has many of the same features, and the fit and finish are top notch. It features two Seymour Duncan P-90’s and a super comfortable neck. The sound is just great, equally at home in both jazz and blues. It also came with high quality hardshell case, and being only a year old and hardly played it is in perfect condition and set up perfectly too. Best of all, it sounds terrific through my Carvin AG-300 (this was a big surprise!) so I don’t need to spring for another amp. With a beautiful tobacco sunburst finish, gold plated Grover tuners and bridge, and a very cool retro looking cream colored pickguard that matches the Seymour Duncans perfectly, it is a gorgeous thing to look at too. Only down side is that is has some serious weight due to the maple block inside but that is the trade off for the amazing sustain it has. Sooner or later, I will get some gigs that call for an electric, and I’ll be ready!
 
I had a great conversation with the person who sold me the guitar and this gets to my previous post about guitar teachers. It seems that his daughter took lessons – actually, just one lesson! – with a guy who lives not far away. This person is a former member of a very well known R&B group that broke up a while ago and he now lives in this area. While all reports are that he is a great guy, from what I was told his teaching style is a bit shaky at best. He basically did some playing and expected this poor young girl, a raw beginner, to then repeat what he played. Compounding the confusion was that he is left-handed, and she is not! His advice? Just look in the mirror! Yikes. Plus he demanded three months of payment in advance. Again, big respect for his playing and background but the reality is that a great player may not be a great teacher. The sad part is that he probably succeeded in turning off this youngster to ever playing the guitar. But the positive was that this inspired the guy who sold me the guitar to begin playing himself (after all, he had paid for three months of lessons….) and he seems to love playing without value judgements by himself or anyone else. Good for him!
 
Finally, as regular readers of this blog know, I have been playing regularly for about 5 years at a wonderful little café near my home called the Daily Brew. I play almost every Sunday from 10 till noon. When I started and until very recently it was all about challenging myself to carry the time with totally instrumental arrangements of blues, bossa nova, jazz and pop stuff. I can say the pay off is that my playing at this point in my life is better and more gratifying than it’s ever been. But recently I thought, what the heck, maybe I’ll start mixing in some vocals too. Understand that this was what I always did in the many groups I’ve played with over the years. So a couple of the locals were quite surprised to see a mic set up in front of me last weekend as they had never heard me in any of my previous musical endeavors. And you know what? In spite of dealing with the aftermath of a nasty cold and seasonal allergies it sounded…. Not awful. Or it seemed that way anyway. And it was fun! Looking forward to tomorrow morning, for sure!
 
Oh, and one more thing. As most of us know, this is the 50th anniversary of the release of what I feel is the great album of all time, Sgt. Pepper’s Lonely Heart Club Band. I listened to an interview with Sir George Martin’s son Giles yesterday on PBS radio and he went into great detail about the new box set and remixed Sgt. Pepper. It was absolutely fascinating. Contrasting the mono and stereo versions, alternative takes, and little tidbits about the behind the scene recording process back in 1967. I believe that interview may be available on You Tube or perhaps via PBS. Check it out and even if you can’t give that album a listen again. Pure genius.
 
Peace & good music,
Gene

Categories: Acoustics

Jerry Garcia's Wolf Guitar Is Auctioned For A Record Breaking Price

The Unique Guitar Blog - Fri, 06/02/2017 - 21:49
Jerry Garcia's Wolf Guitar


On May 31st an event auction was hosted by Brooklyn Bowl for Jerry Garcia’s Wolf guitar. The auction was done by Guernsey's Auctions.







Garcia playing Wolf
This guitar, which was first used by Garcia in 1973 at a New York City show, sold to Brian Halligan, the cofounder and CEO of the marketing software company HubSpot for $1.6 million plus a $300,000 premium, bring the total winning bid to $1.9 million.


Marketing Lessons from the Grateful Dead
Halligan, cowrote the book along with David Meerman Scott, “Marketing Lessons from the Grateful Dead: What Every Business Can Learn from the Most Iconic Band in History.”

The recipient of the money is the Southern Poverty Law Center.

The Wolf Guitar


The bid was then matched by another anonymous donor, making the total gift an amazing $3.5 million. This is the most money generated from a guitar auction.






Joe Russo's Almost Dead

The event also featured drummer Joe Russo leading an all-star cast, which included his own Grateful Dead tribute band known as Almost Dead.






Doug Irwin
Wolf was the first guitar that luthier Doug Irwin designed for Garcia.







The Wolf Decal
Its body was mad of curly maple and purple heart wood. Garcia found a sticker of a cartoon wolf and placed it below the bridge.

Through the years Garcia had several modifications performed on the instrument. The last time Jerry used the guitar was in February of 1993. He passed away 2 years later. He can be seen playing it in the Grateful Dead Movie.


The Wolf guitar in original form
The Wolf guitar was created as a result of Garcia visiting a San Francisco music store. While there he came across a very unusual guitar and inquired about it. He was told it was built by a guy named Doug Irwin. Garcia came back a few days later to buy that guitar.

Irwin tells the story that he was in the back of the store putting pickups on that particular guitar. Irwin says a couple of guys from the store came to the back room and told him that Jerry Garcia wants to buy your guitar. He thought they were joking.

Wolf with 2nd pickup arrangement
The guys came back a couple of times to get him and Irwin finally brought the guitar to the front of the store. Jerry told him that he liked the way the neck felt and he asked him to make another guitar. This Irwin built guitar came to be called The Wolf. Doug Irwin would go on to build four guitars for Garcia.


Irwin had just started building guitars at Alembic. This was a company run by Ron Wickersham, an electronics and sound expert that previously worked for Ampex, Rick Turner, a luthier and guitarist, and Bob Matthews, a recording engineer. The company started in a rehearsal room for the Grateful Dead, so there was an immediate connection between Alembic and the band.

As the story goes, Doug Irwin was recently hired by the Alembic company and was building electric guitars for them and he also built some for himself.

Eagle Guitar
The first one that Jerry Garcia purchased was known as The Eagle. This was the guitar that Jerry found when he came from the music store that where Irwin was employed. This guitar had humbucking pickups. At the time Garcia preferred the sound of his Stratocaster with single coil pickups.

Garcia asked him to build him another guitar. Irwin took a cue from this and created The Wolf, which he sold to Jerry Garcia in 1972 for $850. Garcia played this guitar for more than 20 years. Garcia asked Irwin to optimize Wolf with three single coil Stratocaster pickups.

As stated, this guitar was made of purple heart wood and curly maple. The fret board was ebony with 24 frets; longer than Fenders, which at the time only had 22 frets. The first version had a peacock inlay made of abalone, but in subsequent years Irwin changed this to an eagle.

A blood-thirsty cartoon sticker of a wolf adorned the body. This gave the guitar its name.

Garcia and the Wolf Guitar
In later years the middle and bridge single coil pickups were swapped out for humbuckers. This was an easy change because Irwin configured the pickups on a metal plate.


In fact it was Irwin who created both plates for the guitar. The pickup selector is the five position strat type.

Wolf Guitar Controls
The Wolf guitar features a master volume control and a tone control for the middle and front pickups. Two mini switches on the guitar are pickup coil switches, to choose between humbucking and single coil. There are two ¼” phone jacks. One goes to the amp and the other goes to Jerry’s effects loop.

There is also a mini switch to toggle the effects loop on or off. The electronics are accessible from a plate on the guitars back side and they are shielded. The tuning machines are Schaller’s and made of chromed nickel as is the bridge.

Wolf was the first guitar Irwin built that had the D shaped headstock that he used on other guitars he made as his trademark.

Both Wolf Headstock designs

On the headstock was the inlay of a peacock done in mother-of-pearl. While at a concert the guitar fell about 15 feet off of the stage and this caused a small crack in the head stock.


Doug Irwin took this as an opportunity to replace the head stock with ebony veneer and a mother-of-pearl inlay of an eagle, which by now had become Doug Irwin’s signature.

Garcia with Wolf Guitar
Jerry Garcia used the three single coil pickup plate up until 1978 when he had the single coil neck pickup and twin Dimarzio Dual Sound humbuckers for the middle and bridge position.

Click on the links below the pictures for their sources. Click on the links in the text for further information.

©UniqueGuitar Publications (text only)





Categories: General Interest

Unknown Mongrelcaster Offset Telecaster

Guitarz - Fri, 06/02/2017 - 06:17
guitarz.blogspot.com:

I spotted this today on the Facebook page for ugly guitars. The poster calls it the Mongrelcaster. There are no other pictures or information.

It's my new favourite offset-tele syle guitar. Congrats on standing out without being too wacky or disgustingly odd. It's somewhat reminiscent of an Eastwood Senn model . Modern and classic.

Does it remind you of another guitar?

R.W. Haller


© 2016, Guitarz - The Original Guitar Blog - the blog that goes all the way to 11!
Please read our photo and content policy.
Categories: General Interest

Sgt Pepper Revisited

Guitar Vibe - Thu, 06/01/2017 - 14:55
It was 50 years ago today, the Beatles' album "Sgt Pepper's Lonely Hearts Club Band" was released, ushering in a new sound for the Beatles, but also for rock music in general. For many, Sgt Pepper's is considered a breakthrough... Zack Urlocker
Categories: General Interest

TAYLOR GOLDSMITH BACKSTAGE AT THE RYMAN

The Martin Guitar Blog - Thu, 06/01/2017 - 05:00

American Songwriter caught up with Martin Ambassador Taylor Goldsmith and his band Dawes for the C.F. Martin & Co. Presents: Dawes.

Taylor_Dawes.png

The band performed two acoustic tunes off of their latest album, "We're All Gonna Die." The performances of "Roll With The Punches" and "Roll Tide" took place at the Ryman Auditorium before the band's two night stand on April 28th and 29th.

Martin Ambassador Taylor Goldsmith's Martin guitar of choice is the OM-28E RetroYou can purchase the OM-28E Retro by finding your nearest authorized Martin dealer, finding a certified online Martin dealer, or exploring the buy from factory program.

Categories: Manufacturers

Binding Dulcimers

Dulcimer Binding ToolsDulcimers traditionally did not have binding. Every time I put binding on a dulcimer I am reminded of this; putting binding on a dulcimer is a lot of work!

Putting binding around the edges of the soundboard, especially a soundboard made of a soft wood, helps prevent dings and chips along the edges. To my design aesthetic binding the soundboard is also like putting a frame on a picture.

I usually do not put binding on the backs of my dulcimers unless someone really wants it.  I don’t think it is necessary to bind the back since it is usually made of hardwood. Also, should the dulcimer ever need major repairs an unbound back simplifies removing the back of the dulcimer to gain access to its innards.

In the photograph above are the hand tools I use when preparing the dulcimer for binding.

In the upper left is a shop-made binding scribe. It consists of a scalpel blade glued and taped to a piece of wood the thickness of the binding that is again glued to a piece of wood that serves as a handle. I use this tool to gently score the binding channel on the soundboard. After the channel is scored I deepen the scored cuts with the scalpel and knife.

I use a simple router jig to remove some of the bulk and then finish up the binding rebate with the small chisel and file. I also use the chisel as a scraper, using my fingers as a depth stop to guide the cut.

After taking the photograph for this post I noticed the fingerboard did not look quite right. I realized I had left out one of the fret slots! It has since been cut and all is right with the world.

Forgetting to cut a fret slot is not a big deal as it is easy to add at anytime. What is a big deal is cutting a fret slot where one is not supposed to be.

Guess how I learned that lesson?

 

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