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The extended bass design by Joel is also different from Michi's too in the sense that he drew inspiration from his banjo playing background, and installed a sliding banjo capo that can either be removed completely, or even be shifted up half a step to create a "Drop D#". Cool stuff!
And of course, I think it goes without saying that Michihiro Matsuda is the epitomy of an innovative luthier
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#17
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Thanks for the mention Zach! I loved your guitars in Vancouver, so clean and great sounding. I guess we should probably mention Sergie Dejonge as one if the most innovative builders!
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Dion Guitars |
#18
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Thanks Dion! Oh, absolutely! Sergei flies under the radar a lot, but I think he was responsible or partially responsible for many innovations still in use today. He's always trying something new! This might have been one of my favourite parts about apprenticing with him, being involved in the creative process of trying new things outside of the norm (which I think played a huge role in developing my sense of engineering principals in guitars - which is pretty darned important if you ask me!). Yeah, I'd say he's a pioneer in the field of lutherie!
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Zachary Lefebvre Owner/Luthier TreeHouse Guitars www.treehouseguitars.com www.facebook.com/treehouseguitars |
#19
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Cool thread, Russell.
I have been to Mighty Fine Guitars and agree that Stevie has a great little shop with some fabulous inventory. I purchased a wonderful Sparky Kramer Prairie Grass model from him. Both Michi and Joel's guitars have a wonderful aesthetic to them while being lovely guitars to play. I have been fortunate to have played many examples of Tony's fine work here in the Bay Area. I miss the Healdsburg Guitar Festival since it was virtually in my back yard. Being able to play both the innovative designs as well as the interpretations of traditional designed guitars is something that I truly miss. Having shops like Stevie's and Schoenberg's and Gryphon's in the area sure makes it fun to take a day for guitar playing and browsing though. Best, Jayne |
#20
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Circa OM-30/34 (Adi/Mad) | 000-12 (Ger/Maple) | OM-28 (Adi/Brz) | OM-18/21 (Adi/Hog) | OM-42 (Adi/Braz) Fairbanks SJ (Adi/Hog) | Schoenberg/Klepper 000-12c (Adi/Hog) | LeGeyt CLM (Swiss/Amzn) | LeGeyt CLM (Carp/Koa) Brondel A-2 (Carp/Mad) |
#21
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I miss having Mandolin Brothers near where I live (gone...). You guys are fortunate Bay area to have a number of fine instrument shops and world class luthiers in your immediate area.
Despite the demise of HGF, there are guitar shows out there albeit not in the Bay area.
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#22
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#23
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I too have a guitar with a Manzer. The first time I came across the wedge concept was back in the early days of Acoustic Guitar Mag where William Compiano used it to help someone who was having chronic pain issues when playing. I don’t think he ever claimed this was an original concept though.
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------ AJ Lucas Pavilion Sweep fan fret Santa Cruz OM/E (European Pre War) Martin J40 |
#24
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The waters get murky with the possibility to "innovate" without being the first. Years ago I thought I'd start tilting my saddles back (in the z-axis if the top is x-y) to split the break angle and have the force of the strings travel directly down the height of the saddle instead of applying torque. It's not something I've seen others do or had heard of before, but I can pretty much guarantee that I'm not the first. I guess it's semantics, but I think in most cases it makes sense to call a builder non-traditional rather than innovative. |
#25
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Hi Mike,
I believe Mike Dooiln, Bruce Petros, John Ostoff and a few others tilt their saddles back a few degrees. We have also done it as well. I’ll agree that it’s pretty hard to come up with something totally new these days. |
#26
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I'm the lucky owner of a "Tony" - mine is an OM-Y but I feel lust every time I see a Talus. Give us a shout if you ever do make your pilgrimage to the Bay Area to visit MFG. I'm sure we could arrange some sort of get together and guitar fondle. Fran
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E ho`okani pila kakou ma Kaleponi Slack Key in California - www.kaleponi.com My YouTube clips The Homebrewed Music Blog Last edited by Kerbie; 09-21-2018 at 03:34 PM. Reason: Fixed quote |
#27
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Add Mark Blanchard to that list as well...
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#28
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We miss the old guitar shops...
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As for innovative Luthiers, let me put in my usual plug for John Kinnaird. His instruments tend to look fairly traditional but the recent builds for me have a NUMBER of cool innovations: Oversized 12 fret dreads with a slightly pinched waist. Sound ports, multiple bevels, super multiple laminated and carbon fiber reinforced necks, two with NO truss rod. Asymmetrical neck carves, elevated fretboard extensions, bull nosed edges throughout, Manzer wedges, CF struts to support the neck block for lighter top bracing, suoer hard gold color Jescar frets, fret board edge markers thru to the top, etc. also HH glue where it affects tone, double sides, Adi braces, and ultralight Spanish Cedar linings and laminated end and neck blocks John was not the first to use any of these, but I haven't seen anyone else put them all together in one instrument. Most of these were things I asked for, and John was happy to go there. These guitars sound better than anything I have ever had or played. The first one knocked a BUNCH of high end single Luthier and boutique brand instruments out of my line up, one or two at a time... Funny, I tend to prefer traditional looking instruments! I just want all these innovations because they work better for me. Here's to the Luthiers! Go gang!!! Paul
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3 John Kinnaird SS 12c CUSTOMS: Big Maple/Cedar Dread Jumbo Spanish Cedar/WRC Jumbo OLD Brazilian RW/WRC R.T 2 12c sinker RW/Claro 96 422ce bought new! 96 LKSM 12 552ce 12x12 J. Stepick Bari Weissy WRC/Walnut More Last edited by Guitars44me; 09-21-2018 at 11:26 PM. |
#29
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He has countless other small touches, some functional and some just nice to know they're there - like the face of the headstock being radiused to match the fingerboard. Quote:
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Cheers, David
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