Quote:
Originally Posted by TaranGuitars
Hi All,
Thank you for joining Matt and I on this build. It’s an exciting one as this combination of woods is one of my favourites and Matt is an absolute joy to work with!
One of the wonderful things about guitar making is the lack of a rule book. As all builders I look for construction that works for the way I build and that produces the character in an instrument that I’m after. In Smallmans work and Mathias Dammann, who I hadn’t come across until now, thank you Bill. I sure their developments were a product of the same investigative approach I use. What they are looking for I can’t say. For me, I have always heard a fulness in a guitar with double sides. I’ve tried lots of different constructions from standard single sides with kerfed linings, single sides with laminated linings, doubles side, double sides with a foam core and even Nomax as a core. All bring a different tonal quality to a guitar. The construction here is the one I’ve settled on recently. Fully kerfed cedar laminated with 3 veneers on the inside and the main side for the outer skin. It’s light but most importantly it’s incredibly ridged. Perfect for taking up the stresses of the string pull over time and allowing the top and back to vibrate as freely as possible. Credit where its due, I believe it was Jeremy of 52 Instruments that first did this construction and it is now widely used by makers world wide.
The fascination is that these individual techniques change the tone of a guitar. While this construction for the way I build my larger models works very well, I would in a smaller model go for something different perhaps. If I wanted a light airy or etherial sounding guitar that had a very light response level for finger style, I probably would go for a single side with laminated linings. In the Tirga Mhor it’s a different beast. Power, clarity and fulness are my goals, this construction to my ear aids this. Of course there is a lot more in play….
The joy of years of experimentation is that I can pick and chose as you would from a recipe book as to the flavour of a guitar using different wood and techniques to achieve a desired character. It keeps me on my toes and building exciting.
I’ll stop talking now and go and do some binding Matt…
Thank you all again!
All the very best,
Rory
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Thanks Rory for taking the time to provide your insight and some context to what everyone is seeing in these photos. The sheer variety of ways in which these instruments can be constructed is incredibly interesting.
It’s quite a fascinating thing to watch... I’ve frequented this forum for years and I’ve seen hundreds of these build threads. I’m finding that I have to remind myself occasionally that this is my guitar coming together before my eyes. It’s rather surreal.
I appreciate the kind words! Likewise, working with you has been a top shelf experience.
Matt