#16
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Yes, I was thinking along those lines, but more of a swish as the inlays go down the neck. Still at the commonly marked frets, but not really hitting the center of the frets. More motion.
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Kevin Krell, Executive Director, International Traditional Music Society, Inc. A non-profit 501c3 charity/educational public benefit corporation Wooden Flute Obsession CDs https://www.acousticguitarforum.com/...d.php?t=572579 |
#17
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Ryan,
I've been thinking on this some and of the two ideas shown, my preference would be for the first version with no markers, other than on the side. On the second version I find the markers are too large in comparison to the stars on the headplate. If these were reduced in size, then this might be better if you wanted to have markers on the Fretboard. Very small dots might work, not sure small stars or something similar would look good. Here's a quick mockup. Coming from a different direction, here are a couple celestial concepts for you to think on. 1. Placing another constellation on the Fretboard might be an idea as has been noted in this thread, the problem may be whether people would recognize them. One constellation you could add would be the Northern Cross at the 12th fret. These would both be recognizable for most people. 2. Rather than thinking of this as fretmarkers, another thought would be to think of this as an inlay on the Fretboard instead. Not overly complicated, just something that may blend with a celestial theme. How about a stylized comet falling down the Fretboard? Maybe a meteor shower (a meteor stoping at the 5th, 7th, 9th, 12th, 15th frets)? Northern lights at the 12th fret?? 3. A final thought on a celestial theme would be to use the different phases of the moon as the fret markers (I think I have seen this before somewhere). The 5th would be the waxing moon 1/4; the 7th the 1/2 moon; 9th the 3/4 moon, 12th the full moon. The 15th could be the waining 3/4 moon. To make this more interesting you could show the whole moon as a black dot, with the corresponding crescent as MOP as usually the whole moon is visible, just not illuminated. With your Fretboard dark but not black this may give a neat effect. As ideas are free, spend these as you want.
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Ian K. 2018 Michaud OO-R 2012 Webber Dreadnaught *SOLD* 2010 Eastman E20OM 1994 Guild D30 1979 Yamaha FG375S (retired) 1974 Norman B30 (retired) |
#18
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Quote:
BTW, My vote still lies with Tom's suggestion of having the Kinnaird logo at the 12th fret.
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1995 Maton EM725C - Solid 'A' Spruce Top, QLD Walnut B&S, AP5 Pickup 2018 Custom Built OM - Silver Quandong Top, Aussie Blackwood B&S, Fishman Matrix Infinity Mic Blend Pickup 2021 Faith Neptune Baritone - Solid Englemann Spruce Top, Solid Indonesian Rosewood B&S, Fishman INK3 Pickup 2022 Yamaha SLG200S Silent Guitar |
#19
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What about paying homage to those who helped with the design and use the AGF logo?
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Maton CE60D Ibanez Blazer Washburn Taurus T25NMK |
#20
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Quote:
Since this is a special guitar for Ryan (3/100), if this feature is added at the 12th fret, it should reflect that for him somehow. I would be more inclined to maybe use the 5th fret area for something special, only because the area is larger. So many directions this could go, how about a "3/100" at the 12th fret? Just throwing it out there for discussion. This could be set between the two dots on my mockup.
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Ian K. 2018 Michaud OO-R 2012 Webber Dreadnaught *SOLD* 2010 Eastman E20OM 1994 Guild D30 1979 Yamaha FG375S (retired) 1974 Norman B30 (retired) |
#21
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You do awesome, inspiring work, Ryan. I'm sure Steve knows how genuinely fortunate he is to have you there, helping these guitars get built to a world-class standard.
As for the fingerboard embellishment- in my opinion, in keeping with the uncomplicated elegance of this build, why not just use some symbolic representation of the number "100" gracing the 12th fret position, and leave the rest of it to be just the simple beauty of natural wood? I heard someone once say that he preferred blank, unadorned fingerboards, because he played in a lot of open tunings, and having traditional position markers was, to him, a sort of arbitrary convention- as in the definition of arbitrary = "unrestrained and autocratic in the use of authority..." This guy, who I met at the GAL convention in 2014, and whose name I am going blank on, said that to him, a blank fingerboard presented an unrestricted universe of musical potential. Or, there were no markers or boundaries indicating the "right way" or "wrong way" to play a guitar. That struck me as a very keen philosophical insight. And aside from that, an unadorned fingerboard made with beautiful wood is the very picture of elegance. One of these days, when I finally manage to build myself a Keeper Guitar, I feel strongly inclined to only put some simple 12th fret inlay on it, and then go and explore that unrestricted universe of musical potential.
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Edwinson |
#22
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Thanks everyone for all your ideas. I'm going to contemplate all this and try to come up with some middle ground, and we'll see what I got. I appreciate you thinking about this. Let's see what the new week brings - besides a bunch of work on Cigarfan's guitar.
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#23
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While the boss is away #2.1...(your votes needed)
Ok, so I came up with a little something, and I wanted to put it out there and see if it sticks...
While the intention when we started this guitar was to come up with something unique, I can't say I predicted where we would end up. Maybe the Red Gum helped decide the Southern Cross logo, and maybe that is making this Australian in theme. There are worse themes out there. I did a little astronomy homework as that's what my scholarship to college was in. I got the idea of looking at Crux (the Southern Cross) over Uluru (Ayers Rock). What could be more Aussie than that besides a kangaroo eating shrimp off the barbie? I used the Red Eucalyptus for the beautiful red sandstone of Uluru, and because really only three stars of the constellation are pronounced, I picked them setting over the western side of the mountain if you were looking from the northern side - the traditional viewing location. I get Australia, I get Red Gum, and I get my allusion to the number three. Now, do I get a good 12th fret design? I guess that's for you to decide. Let me hear it. Last edited by nacluth; 07-10-2017 at 07:03 PM. |
#24
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I give you a big thumbs up there Ryan.
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John |
#25
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Nicely done! Another option would be the Sydney Opera House from some MOP, but I want to see your take of the kangaroo putting a shrimp on the Barbie!
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1995 Maton EM725C - Solid 'A' Spruce Top, QLD Walnut B&S, AP5 Pickup 2018 Custom Built OM - Silver Quandong Top, Aussie Blackwood B&S, Fishman Matrix Infinity Mic Blend Pickup 2021 Faith Neptune Baritone - Solid Englemann Spruce Top, Solid Indonesian Rosewood B&S, Fishman INK3 Pickup 2022 Yamaha SLG200S Silent Guitar |
#26
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I like the "Rock" and Crux. You could call this guitar "The Aussie" or "Dinkie Di" or something along those lines. Red Gum is a beautiful timber. Can't wait to see the final product.
Here's a thought. Instead of the usual Fret markers use items from Dreamtime art symbols
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Maton CE60D Ibanez Blazer Washburn Taurus T25NMK |
#27
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Well, if no else has opinions, then I'll make it so.
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#28
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Make it so number one.
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John |
#29
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Very original Ryan and pretty too
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Kinnaird Guitars |
#30
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Sorry Ryan, late to the party. I've been looking at this for the last couple of days and find it resonates well with me. Good to go
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Ian K. 2018 Michaud OO-R 2012 Webber Dreadnaught *SOLD* 2010 Eastman E20OM 1994 Guild D30 1979 Yamaha FG375S (retired) 1974 Norman B30 (retired) |