Sexauer '21

[Bruce Sexauer]

Originally Posted by hayvis

In my head, a moulded side that has been more forcefully bent into position for a longer time, would be less likely to exert pressure to revert back to it's previous form, like folded card - the stronger the fold the less resistance left in the card.

In the same way that a straight piece of lumber resists being bent and tries to return to being straight, a heat bent piece of lumber has had its memory altered and thinks it is bent, and will try to return to its new bent shape if forced to be “other”. This memory does become less over time, but never quite goes away. Some woods are quicker to forget than others. A sharp bend in a guitar side breaks it, and causes it to be discarded, at least in my work.

There is no doubt in my mind that tension in wood impairs its movement and therefore response to string input. The sound we hear from a guitar is generated by movement in the plates which create waves in the air, and constraining that movement diminishes both the volume and the nature of that sound.

[hayvis]

Originally Posted by Bruce Sexauer

In the same way that a straight piece of lumber resists being bent and tries to return to being straight, a heat bent piece of lumber has had its memory altered and thinks it is bent, and will try to return to its new bent shape if forced to be “other”. This memory does become less over time, but never quite goes away. Some woods are quicker to forget than others. A sharp bend in a guitar side breaks it, and causes it to be discarded, at least in my work.

There is no doubt in my mind that tension in wood impairs its movement and therefore response to string input. The sound we hear from a guitar is generated by movement in the plates which create waves in the air, and constraining that movement diminishes both the volume and the nature of that sound.

Beautifully put, and thanks for the response. This subject I think is what fascinates me the most about your work.

[Jamiejoon]

Originally Posted by hayvis

Beautifully put, and thanks for the response. This subject I think is what fascinates me the most about your work.

Hayvis, have you played one of Bruce's guitars (especially his recent work)? THAT would fascinate you!

[Calves2997]

Originally Posted by hayvis

Beautifully put, and thanks for the response. This subject I think is what fascinates me the most about your work.

If you’re close to SoCal you’re welcome to try some of mine.
All other guitars are by comparison deficient in so many ways, they feel very one dimensional. Bruces guitars are so vibrant they are almost alive. They will amplify your mistakes and ahem out of tune playing to a varying extent. But also reward practice and beg for you to be better, more accurate, more relaxed.
The only danger in trying one is you will fall quickly down the rabbit hole, and see what the matrix really is.

[hayvis]

Originally Posted by Jamiejoon

Hayvis, have you played one of Bruce's guitars (especially his recent work)? THAT would fascinate you!

Everyone is so kind! No, I haven't managed to play one of Bruce's guitars, and would definitely take up the offer given the chance. I'm based in the UK and the budget is beyond me with two young children, although I hope Bruce is making guitars for many more years, as it would certainly be an ambition of mine.

These threads are absolute gold dust for me. As a passionate player and fan seeing the process by which Bruce makes these wonderful instruments adds so much to my enjoyment of the guitar and has helped me understand so much more about it than I could ever have hoped.

I think transforming trees into instruments and then into music is just about the epitome of what it is to be human.

[Jamiejoon]

Originally Posted by hayvis

I think transforming trees into instruments and then into music is just about the epitome of what it is to be human.

I love that.

[Bruce Sexauer]

I have applied the "P" stain to Carlos guitar, for the first time the top as well as the back and sides.







Then I applied the sealer coats:

[iim7V7IM7]

Beautiful…

[tadol]

Since I was at Bruce’s shop while he did the staining, I had to add this - the pernambuco stain goes on in an extremely bright cherry red color (even more than the pic shows) before it dries to a beautiful brown -

[The Bard Rocks]

After that picture, we need to see an "after" shot.

[Jamiejoon]

Originally Posted by Calves2997

If you’re close to SoCal you’re welcome to try some of mine.
All other guitars are by comparison deficient in so many ways, they feel very one dimensional. Bruces guitars are so vibrant they are almost alive. They will amplify your mistakes and ahem out of tune playing to a varying extent. But also reward practice and beg for you to be better, more accurate, more relaxed.
The only danger in trying one is you will fall quickly down the rabbit hole, and see what the matrix really is.

I really have to echo what Carlos said. My Euro Pear Sexauer is my second, and it is magnificent. Just...exactly...perfect. Not too much or too little of anything, and so sensitive, and perfectly balanced, and that is addictive. So, hopefully a third one is coming.

[mhw48]

Originally Posted by The Bard Rocks

After that picture, we need to see an "after" shot.

The "after" shot was actually posted "before":

[iim7V7IM7]

For those of you who are AGF regulars, you know by now that I am a fan of Bruce’s guitars. I have commissioned five custom guitars with Bruce over the last seven years. I would concur with Carlos that all of my guitars made by Bruce are responsive, incorporate active backs and feel absolutely“alive” when you play them.

Where I differ from Carlos, is in my experience, Bruce can indeed adjust his guitars to be a “sports car” if desired or something more friendly and forgiving based upon a client’s input and goals. This is part of up front client-luthier consultation at the beginning of a commission and his mastery at the bench to craft a guitar that meets a client’s goals.

[Bruce Sexauer]

I started a new guitar today, my 5th build for Jmat. In a way, it is a warranty build. John likes a bigger and bulkier neck than most folks I've built for, and while he thinks I got it right on the first three builds, the fourth came in a bit too light. He sent it back to me with instructions to replace the neck or build a new guitar, at my option. Since the guitar is in perfect condition and sounds as good as they get, given its tonal target (Dry vintage prewar Martin style 18), I opted not to mess with it, and make a whole guitar. I have the offending guitar here and it is available. John gets a lot of agreement from my friends and neighbors, the neck is not skinny, but neither is it noticeably bulky.

I had already joined the new guitar's mahogany back when John and I spoke today, and we have decided to go with Myrtle instead. I don't think it will be quite as dry as mahogany would have been, but neither will it be the over-saturated (IMO) "modern" tonal model. I have chosen a structurally superior but somewhat less fancy set of Myrtle, and ought to be able to show it to you by tomorrow.

[Bruce Sexauer]

Today is the new tomorrow. Here are the joined and templated plates for Jmat's coming FT-000-C in Adi/Myrtle:

I do favor wider grain on my tops than some others.


While not "Exhibition Grade", this wood is much flamier than it appears here.