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#32
08-02-2014, 06:07 PM
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Not sure that last post is really in the spirit of this thread.
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#33
08-02-2014, 07:00 PM
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I agree. Would be a lot more helpful as a PM.
Always good to have another pair of eyes on a piece of published text but constructive comments and specific details conveyed behind the scenes would be the right approach. I think it's a pretty impressive piece of work for someone who is getting orders out the door and building a new workshop at the same time. Chris
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#34
08-03-2014, 05:38 PM
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Yes, this has veered off a bit. Bohemian, if you have some more specific critiques feel free to PM me.
I will take a look at my website when I have some time. I have wanted to make it bit less wordy now for a while. Back to the original topic. Thanks again for all the input. I've now had a few days to think over the issue regarding pricing and a more basic model and I tentatively believe that I may be able to come up with something that could list for around $4,000. I still have my concerns about it, but I will try to hammer those out and maybe be able to get one in the works in the next month or so. I do have a spruce top that is sonically great material but aesthetically not high end quality. I was going to use it for a carved 335 type of instrument but now I'm thinking of allocating it to a prototype for this project. I love the satin black top with tobacco burst B/S. So I'll stick with that. I'll look at a basic ivroid binding but if that ends up pushing the price up too high then I will simply do a PRS style edge reveal as Steve suggested. No pickup system. Probably a simple metal tail piece (which I have never used before, but I think is the only workable option for this project) And I will use the late 20's L5 as style inspiration but incorporate my own design sense of course as far as F-hole, peg head, body shape are concerned. Non cut. Once I start the build, I'll begin a build thread so you all can stay connected to it. If anyone has any other suggestions for it, let me know. This has been a fruitful thread I think. I'm glad I asked these questions and I'm grateful you all participated.
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#35
08-03-2014, 08:21 PM
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Quote:
1] Bursts are sweet, but what's the cost versus solid brown back/sides a la L-50/L-7? I'm thinking you'll need to use better-looking (and once again, more expensive) woods, and there's also the time/money factor involved in applying the shading (I'm assuming that you're a "hand-shaded" kinda guy at heart  ); if you have a finishing system that won't adversely impact the final cost I'm all for the burst - if not, keep it simple...2] There's a fair bit of experimentation in the flattop world with alternative tonewoods, whether in the interest of ecology, cosmetics, tone, cost, or some combination thereof; would you be comfortable thinking outside the spruce/maple "box" if it meant saving some money on raw materials - Martin's got some good things going with their cherry guitars, and Epiphone had a number of walnut archtops during their New York heyday... FWIW, based on the posts so far I envision the final product looking something like this:  - and here's the price-point competition: http://mandoweb.com/Instruments/Camp...op+guitar/1508 Some differences, granted, but nothing that IMO doesn't fall under the heading of simple tradeoffs (cutaway/full-gloss burst/pickup/full binding/fancy woods versus all-carved plain-wood construction)... Best wishes, and keep us posted - I can't speak for the others, but it was certainly my pleasure... 
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#36
08-04-2014, 07:10 AM
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Steve,
I'm not opposed to alternative tonewoods at all. In-fact, enough time has not passed for me to demonstrate this with my portfolio but thinking outside of conventionally used woods is something I hope to be known for one day. However, I'm not sure it is something that would help with Cost. Maple and sitka spruce are pretty affordable woods, especially when you get out of the "master grade" stuff. Plus ecologically speaking (something I care a lot about) they are both pretty plentiful, fast growing and provide a nice yield. There may be some other woods that I could use, I'd have to do some research, but for the most part I think the traditional maple/spruce combo would work well for this project. The burst, it really all depends on the wood. In my minds eye I like the satin black top with tobacco burst B/S. But at the end of the day, I approach finishing like oil painting… I try to have a basic idea in my head but when I get into the spray booth I let the wood tell me what to do. So we will see. I dont think thats an area that really dictates too much cost differential. particularly because I really enjoy spraying color. One issue we haven't discussed at all is finish type. For a more affordable basic instrument, would anyone be opposed to a polyester finish as opposed to a nitro? Poly is more expensive by the pound but in the end requires far less material and far less time. It also ends up being more protective, but doesn't end up with that aged look over time that nitro does.
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#37
08-04-2014, 07:15 AM
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What about a finish like Taylor uses?
I like poly. I see no need to perpetuate the nitro myths. Looks great, but I'm about playing the guitars, not looking at them. Nitro is some nasty dangerous stuff.
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#38
08-04-2014, 11:01 AM
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Quote:
Looks real pretty on guitars. too... 
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#39
08-16-2014, 06:35 PM
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I'd say the early L-5 design was the ultimate in design terms although it might have been improved sonically.
I've been beaten to it but - yes check out Daniel Slaman in the Netherlands.
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