Tell us a bit about the guitar in the picture.
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| Hey Stan, nice lookin OM there. http://w-ww.luthiersforum.com/forum/viewtopic.php?f=10102&t=719 |
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| Author: | Matt Gage [ Sat Jan 15, 2005 12:49 am ] |
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I may have missed this question somewhere, but tell us more about it. Matt |
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| Author: | Dickey [ Sat Jan 15, 2005 2:44 am ] |
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Tell us a bit about the guitar in the picture.
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| Author: | stan thomison [ Sat Jan 15, 2005 4:21 am ] |
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What guitar and what pictures? I must be missing something here |
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| Author: | Bobc [ Sat Jan 15, 2005 4:40 am ] |
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Luthier of the week picture. See up above. Nice work Stan |
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| Author: | Jeff Doty [ Sat Jan 15, 2005 4:57 am ] |
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Stan, You are famous! Tell us about that beauty. Jeff |
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| Author: | stan thomison [ Sat Jan 15, 2005 5:48 am ] |
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It isn't an OM. I don't know what it would be. As you can see it is shaped I guess like and OM, but it is same depth as a dred about 3" at the head and 4 or so at the end. It has a nice sound and really well balanced. I can say that the basses are deep and the trebles are treble, mids can be heard in the mix. I am not a player so hard for me to comment on some of this. My dad who is a players player though loves it. I hope to get it back from him someday, but as long as he wants it, it is his. When he hits it for bluegrass it can stand out. When does fingerstyle (what he does most) in some of Chet Atkins things but acoustic arrangements or what he does best, acoustic blues(he plays most same genre as Stefan Grossman, John Renbourn, Lonnie Johnson, Gary Davis) All the notes and chords seem to flow well and can hear them equally clear in any of the ranges. He does something (forgive me if not right term) hiding the note behind the chord or vise versa) and he says the sustain is better than some of his higher priced and probabaly better guitars from more well known shops. I think he is just predjudice in my favor to be honest. He plays it more than his others though. He took it to Winfield and jammed several days with it and uses it often at festivals so ok with me. I hate to comment as to all this as to sound and stuff, as again I can't play so just go by as a listener. It is sitka bearclaw top, eir back/sides, sprucana (amazon rosewood) body and neck/fretboard binding. Sprucana fingerboard, bridge. rosewood bridgplate, sitka bracing (sidebraces sprucana)as is endgraft, ebony pins gotoh tuners. 22ft back radii and 60 ft top radii. I looked at it the other day, and top seems more arched than before and wondered if load does that. May just be my imagination. I am going to get a 60ft dish made and go back to that as top radius. Nice thing about sprucana fingerboard is as get older and played it gets almost as dark as ebony (mine has anyway)it get red streaks instead of the greyish streaks in ebony, but sure as dark and most think it is ebony until get real close and look hard at it. Well rambled on to much so that is it about this one This is one I built at Galloup School. |
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| Author: | Steve Kinnaird [ Sun Jan 16, 2005 12:20 am ] |
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60 ft. top radius, huh? Man, that thing's almost flat. Did you buy or make a 60' dish? (Or do you approach that with a different technique? [make sense?]} |
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| Author: | stan thomison [ Sun Jan 16, 2005 3:02 am ] |
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That is the radius Galloup uses on his guitars, and what was used in the school. Like I said now almost a little over a year, I can see the curve more (I think) I am not expert enough in sound and all the engineer stuff to comment on how that flat of radius works for sound. Fom this one I can say it does really well, and Bryan makes a really nice sounding guitar. I am going to have a 60' made if I can find someone to make it. |
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