Super Jumbo, Larson style - Page 6

Rollie · #76 10-12-2010, 02:24 PM

Hanns,
That big ol cowboy guitar....turned out real nice....

Haans · #77 10-14-2010, 04:18 AM

Thanks for all the support, guys!
Edbuff, that is a second clear guard that I added after my wife suggested it. She's a flatpicker...
My friend Bob is coming over Monday so I'll get a couple of clips up next week.

mcduffnw · #78 10-14-2010, 06:05 AM

Hi Hans:
That is truly a "Giant" among men you have created there...really fantastic...I know we are all waiting for the sound clips now...eagerly!

I am curious...how do you feel about using multi piece backs now that you built this one with the four piece back. Would you feel comfortable doing a four piece back on a standard size acoustic, and feel that the acoustic properties of the guitar would be just as good as the normal two piece back?

Being able to use 3 or 4 or 5 piece backs could bring a lot of really nice and high quality, but smaller pieces of Brazilian or Cocobolo or Madagascar rosewood into use that might currently not be considered due to the traditional minded ideals of the two piece back.

What do you think, and has building this guitar changed your thoughts about this idea at all?

Very Best Regards
duff

Haans · #79 10-15-2010, 03:27 AM

Duff, I like as few glue joints as possible. If I could get one piece that is what I would use. However, realistically, 2 piece works, and so does this 4 piece. I'm a little worried about it being Cocobolo (oily) and the wing glue joints, but they are pretty far out towards the rim, and seem solid...I can't find them. I'm pretty much getting away from Coco as it gives me a rash, tears up sanding belts with oily deposits, and supposedly doesn't glue as well as other woods. I've got two sets left and no plans to use them soon. Tonally, there is no difference unless maybe you have a "center strip" on each joint, but I'm inclined to think that wouldn't matter much either.

mcduffnw · #80 10-15-2010, 07:29 PM

Quote:

Originally Posted by Haans

Duff, I like as few glue joints as possible. If I could get one piece that is what I would use. However, realistically, 2 piece works, and so does this 4 piece. I'm a little worried about it being Cocobolo (oily) and the wing glue joints, but they are pretty far out towards the rim, and seem solid...I can't find them. I'm pretty much getting away from Coco as it gives me a rash, tears up sanding belts with oily deposits, and supposedly doesn't glue as well as other woods. I've got two sets left and no plans to use them soon. Tonally, there is no difference unless maybe you have a "center strip" on each joint, but I'm inclined to think that wouldn't matter much either.

Hi Hans:
Is your preference for as few glue joints as possible based on your thoughts, beliefs, or experiences concerning any "sonic" properties, or lack thereof, due to glue joints, or is your preference purely for structural integrities sake...and...does this include the top woods as well as backwoods?

I am curious because I have read numerous articles about acoustic guitars and tonewood supplies, and a number of these articles have alluded to the idea that acoustic guitars may well have to start being built out of both multi piece tops and backs if we continue to use the traditional tonewoods at the volumes that we are currently consuming them...and I wondered whether, if this were to come true, the tone qualites of the multi piece guitars would suffer in comparison to their older two piece top and back kin.

Very Best Regards
duff

Haans · #81 10-16-2010, 03:54 AM

Duff, it's for structural reasons, although other woods are better holding their joints solid than oily Coco. But, a glue joint is a glue joint and I have seen plenty of guitars with glue joints coming apart.
As far as running out of fancy tonewood, not in my lifetime, but if it happens, you can blame the factories that churn out guitars by the tens of thousands every year. Martin has built their millionth guitar? Is that something to be proud of? Not in my book.
I'm pretty big on using woods that aren't "popular" too. White oak makes an astounding guitar, walnut, maple, lots of other less popular imported woods can make a lovely sounding instrument. Don't forget, you can make a pretty crappy sounding instrument out of Brazilian RW too! So, it's not the wood itself so much, as what you do with it.
While I prefer spruce, there are lots of alternatives there too, and there are a few builders experimenting with "other" spruces such as white and black spruce.

jeastman · #82 10-16-2010, 05:40 AM

Are those the 'stealth' tuners Gotoh came out with? I really like the finished product, Haans. Thanks for sharing!

Haans · #83 10-17-2010, 03:27 AM

Actually, they are cheap Grovers, and they are excellent. Far as I can tell, they are as good as Waverlys, tight, smooth and precise. I'm not usually for the metal buttons, but in this case they were appropriate for the instrument.

Haans · #84 10-18-2010, 04:17 PM

Here are some Big Boy clips that I promised...hope you like them! Use the back button on your browser to return to this site.

http://www.brentrup.com/page7/files/page7_8.mp3

http://www.brentrup.com/page7/files/page7_9.mp3

http://www.brentrup.com/page7/files/page7_10.mp3

ChuckS · #85 10-18-2010, 09:17 PM

The Super Jumbo really sounds cool Hans. I thought I was going to hear all flatpicking/strumming, and was pleasantly surprised with its character when played fingerstyle.

Chazmo · #86 10-19-2010, 06:55 AM

Hi Hans,

Just having another look at this baby... Can I say "yeehaw?"

Is it just me (or an optical illusion) or are the fingerboard inlays beyond the 12th fret canted a little bit asymmetrically? I was just curious if that was intentional. I surely noticed the inlayed stars on either side of the bridge are tilted intentionally "inward," which I assume was Larson-inspired. Same with the fretboard? Just curious. I've never seen a Larson first-hand.

Looking forward to playing the sound clips tonight at home.

Short Balding G · #87 10-19-2010, 09:34 AM

Hans; What a great sound! The fingerpicking bluesy stuff is right on with the Jumbo. I like the tone of the sound on the recording. On many notes I hear fullness yet clarity. Neat!

Hans, I am hesitant to work out more sound qualities details without the recording set-up. How did you record the guitar?

I really have enjoyed watching and listening to the Larson inspired Prairire State (super jumbo) guitars. My first experience was lisenting to a Greven out of maple and adi. Man that created a sound that I compare guitars to today. Truly memorable. It is this kind of guitar that makes me think about the heft of my piggy bank.

Intruiged, Eric -

Haans · #88 10-20-2010, 04:34 AM

Thanks folks!
Chuck, Maureen is a flatpick rhythm guitar player, and I'm trying to get her to do a clip of "Santa Fe Trail" for the website. I agree though, it does sound good for blues.
Chaz, yee-haw is appropriate. The stars are laid in as Larsons did it, and as far as asymmetric inlays on the F/B, it's hand done and if it is a little off, (shrug) that's handmade and traditional...
Eric, the guitar was recorded with a cheap home recording setup of a Roland Cakewalk, Garageband, and a SM81 at the 9th fret and PG81 at roughly around the bridge and both mics about 10" away from the instrument.
We were pretty horrified at first playing (rather bottom endy), but the treble has come in and it sounds balanced now. I wish it were a couple of years old though...
Thinking about a SJ version of it, maybe 16-16-1/2"?