#16
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Fairhope is a nice place, but build that shop high so the next hurricane won't blow you away. And dehumidify - a lot! I'm disappointed for you not being able to head back to the NW - I know that's where a big chunk of your heart is - but on the other hand I'm much more likely to be able to visit your shop someday in Fairhope.
I'm curious about the sound port. Were you experimenting with finding the optimal size? The final results are beautiful, but it does look like you started larger and shrunk it. I love everything about this guitar - another Edwinson home run.
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Hatcher Woodsman, Collings 0002H, Stella Grand Concert |
#17
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Back when I used to make my living as a photographer, everyone seemed so adversarial and competitive. Here in the acoustic guitar world, we all get along and lift each other up. That's what it's all about.
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Edwinson |
#19
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I am going to ask Joel (Wood Knot) to help me shoot a video on how to quickly and easily string up a guitar with an open headstock- both the open Omega design, and the traditional slotted headstock. Some people who love the look of open headstocks are put off by the perceived difficulty of stringing them up. But my friend Robb Eagle, founder/owner of the Guitar Emporium out in Seattle, showed me the proper way to do it. It is so quick and easy, and PRECISE, it only takes five minutes start to finish. Two quick tips: Cut each string to length, about 1 1/2 inches longer than the tuner post you are attaching it to; this will give you an optimum number of winds around the post. Next, with a needle-nose plier, bend a 1/4" 90-degree angle in the string end- an "L" bend. That will make the string snugly grip the string post. This is a lot easier and more secure than feeding the string through the hole and then bending it.
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Edwinson |
#20
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This guitar is absolutely stunning. Congratulations Steve and also to the new owner of this fine instrument.
Ed |
#21
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Thanks! Yeah, I'm really sold on the comfort bevels. Especially on a larger guitar, like this one. It feels so easy, it's like playing a much smaller instrument. That makes all the difference, especially if you have arm, shoulder, or back issues. Personally, I have a hard time with a big, deep-bodied dreadnaught anymore. But this full-size Performance guitar feels more like a 00-size, with those bevels.
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Edwinson |
#22
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The C/F is my new designation for "Cutaway/Florentine". Likewise, "C/V" indicates a round (Venetian style) cutaway. Now that I'm making scoop-cutaways, I'll probably add "C/S" to the nomenclature. I don't think I'll ever build carbon fiber guitars. The romance of working with beautiful exotic woods is a huge part of why I do this- and you too, eh? Not that there's anything wrong with CF guitars. One of these days, I'm going to buy a CA Cargo guitar. Those little guitars are awesome. And you can take one anywhere, with no worries. You can even take it scuba diving, and serenade the fishes! Wouldn't it be interesting to find out if you can actually play a guitar under water...?
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Edwinson |
#23
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And I know what you mean about the sound. That is the exact feeling I had when I played John Cotten's brand-new Tim McKnight guitar at the Healdsburg 2011 Festival. That guitar completely rocked my world, and jolted my perspective on what a guitar can sound like, into a whole new order of Being. I've gotten that same feeling of awe and reverence, the first time I plucked the open strings on a Kostal, a Kraut, and a Somogyi guitar. THAT is the THING I've been after, ever since. THAT SOUND. You'll be making guitars like that soon, my friend.
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Edwinson |
#24
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Joel and I are forming an alliance. A synergistic enterprise. We'll be posting a thread very soon about how and why this all is happening; so stay tuned! As for the sound ports, I have been experimenting with them, pretty much since the beginning of my forays into guitar making seventeen years ago. It is still an inexact science. But I am a committed advocate of the side-sound-port idea. The standard, small-ish oval port on the upper bout, driver's side, really does give the guitar a more open, present sound for the player. And I think, on most guitar sizes/styles, there may be a rounder, fuller bass response. On this guitar, I've made the port slightly larger than usual. And I really love embellishing a sound port with some inlay work. This will be an ongoing theme for the current generation of Edwinson guitars. I've also made a number of what I call the "Tri-port" on the lower bout hip of the guitar. These also enhance the sonic output for the player; but interestingly, this sound port placement seems to favor the midrange and treble response. Here are a couple examples of the Tri-port on the lower bout hip of the guitar: ...And here is an upper bout sound port with a slider built in, so the player can open or close the port, for really fine-tuning the response. This guitar is the first prototype of a new model, the Eclipse OM. Way back in 2004, I made my first side-ported guitar with a slider, because I wanted to be able to perceive directly whether or not the side port really made a difference. Or, was it just a lot of hype, or a gimmick. Short answer: YES. It does make a difference! A decidedly POSITIVE one. I found that about 90% of the time, I preferred keeping the port open; because it just made the guitar sound more round and resonant. About 75% of the guitars I've made so far have the standard open sound port, either on the upper or lower bout. However, some of my clients have ordered their guitars with the slider. This really does expand the options for recording with microphones. Some early experiments back in Seattle showed that placing a mic over the player's left shoulder, pointing toward the port, and a second mic placed in front, pointing up to the sound hole, would produce a very interesting sort of organic reverb sound. With the port closed, and typical front only mic placement, the sound was still great, but not quite as three-dimensional as with the side port open. I have a Zephyr 00 build coming up soon, and my client and I are discussing the idea of porting both the upper and lower bouts. My thinking is, use a standard oval port on the upper, and a 30% smaller one on the lower bout hip. I have a feeling this will really work well. We'll be posting a thread on that build too. Thanks to everyone for looking at this thread, and especially for all the kind and generous comments. You guys really make my day!
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Edwinson Last edited by theEdwinson; 04-30-2017 at 11:33 AM. |
#25
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Woop Woop AND I recognize one of those beautiful lower bout tri ports on a beautiful Katalox back and sides!!!
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PS. I love guitars! |
#26
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Steve, so sorry I've been out of touch of late, but stopped in today, and am so glad I did! This guitar is stunning, innovative and amazing in so many ways!! I know the lead-up to the move has been a tough journey, but I know you'll be wildly successful and happy. This a great start to a new chapter. Looking forward to all of the great things you'll be telling us as everything progresses!!
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--------------------------------------- 2013 Joel Stehr Dreadnought - Carpathian/Malaysian BW 2014 RainSong H-OM1000N2 2017 Rainsong BI-WS1000N2 2013 Chris Ensor Concert - Port Orford Cedar/Wenge 1980ish Takamine EF363 complete with irreplaceable memories A bunch of electrics (too many!!) |
#27
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What a stunner! I can't say enough about how good this thing looks. Congratulations to the new owner! As a fellow owner of a few Edwinson guitars I'm sure this one sounds great also.
JR
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Home Texas : Time to Ride : Real Nice Day : Make Things Right : For Dreams : YouTube : Spotify |
#28
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Yet another beautiful guitar!!
I absolutely love your open headstock design, as well as your inspiration from Cassimi. I'm doing a semi scratch build myself, and I plan to do my own take on this design. I've already completed one demo version to see how the string directions go, and ensure there is no entanglement of the strings. You really need to look at the design from an engineer's viewpoint! In regards to the tuners, have you considered using locking tuners like those used in electric guitar builds? Your method for re-stringing sounds very simplified, but using locking tuners would simplify it even more I believe. Or, have you already looked at this, and discarded the idea for some reason? Your thoughts would be appreciated.
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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 |
#29
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Impressive is the word that comes to mind. Wow ... love it!
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David Wren |
#30
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Wow, this is a knockout. LOVE what you are doing. Good luck on your quest for IT. I hope to own an Edwinson soon.
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