Spohn baritone guitar build 2018

[Don Latarski]

For most people, buying a new guitar is a process that involves going to a big box store and trying out different models from the two or three well known large companies. For others with more discerning ears and wallets it involves going to a small boutique shop where they can sample hand crafted instruments from artisan luthiers. And for a fortunate few acquiring a new instrument requires developing a relationship with a builder. It also means the buyer has to have an appreciation for the various parts, materials, shapes, and options available. Admittedly, most people never get to this place in their quest for a new instrument; instead they take a safer path and stick with a well known brand name. For those willing to invest their time and energy, the process of commissioning an instrument is both exciting and extremely rewarding.

I’ve had a number of guitars built specifically for me. When considering having a one-of-a-kind instrument built the most important concern has to be the builder. Communication is undeniably paramount to the process. If the builder doesn’t fully grasp your needs, then how can you expect them to create an appropriate instrument?

For me the most important question has to be: “What do I want this instrument to do that none of my other instruments can?” Once you are able to clearly answer this question you can begin thinking and hopefully brainstorming with a builder.

There’s a line between micro managing the building of an instrument and trusting the instincts and experiences of a builder. If you are able to clearly articulate your needs (both in writing and verbally), then you are on your way. I think of the process as a partnership. There will be give and take and you need to know when to defer to the builder at times in matters such as bracing, tone wood selection, and head stock shape (which is traditionally unique to each builder–almost like a signature). Typically you go to a particular builder because you’ve seen and heard his/her work. Perhaps an artist you admire owns one of their custom instruments. Over managing the building process can lead to the builder feeling like he/she isn’t really able to express themselves at a level they want. I’m of the opinion that great luthiers are artists. I want to collaborate, not dictate.

The palette that luthiers have to work with involves wood choices, design shape (body, neck, bridges, nut, head stock, and such) inlay, rosette, and other artistic embellishments which may not necessarily contribute to the sound of the instrument, but affect how it appeals to you esthetically – like a fine painting or piece of sculpture.

Recently I played a baritone guitar that triggered an emotional response that I wasn’t expecting. I happened to mention this to my good friend and luthier Max Spohn. He suggested that I have him build one of these for me. It didn’t take me long to figure out this would be a great collaboration. From the beginning we’ve been discussing the issues and options in great detail. Communication has been fantastic even though he’s in Germany and I’m in Oregon (U.S.A.). I’ve gotten a lot of photos and he has asked my opinion on nearly every aspect of this process. In the end, you want the builder/artist to create something both unique visually and sonically while being a one-of-a-kind instrument.

Since we decided to move forward we’ve been communicating a great deal via Skype about various woods for both tonal and aesthetic reasons, rosette designs, tuners, string gauges, body shape, top wood, nut width, to bevel or not to bevel, neck profile and width, and other important aspects all which add up to creating both a beautiful instrument and one that sounds great.

At this point we’ve narrowed the choices down to using quilted Honduran mahogany for the back and sides. I’ve had wonderful experiences with guitars made of this wood and I love the look too. For the top tone wood bearclaw Swiss "moon" spruce will be used. I don’t believe there is a finer wood in the world for a top. For the rosette Buckeye and Amboyna burl (Amboyna is technically not a distinct species, but is the name of the burl wood from any of the Pterocarpus species.) The bindings and fingerboard will be ebony; neck mahogany; bridge either wenge or Rocklite (realistic, faux Indian Rosewood or ebony.) An arm bevel will also be part of the design, which will make for a more comfortable fit.

During the development of this instrument Max has been sending a lot of photos too, which makes the process less abstract. I’ve commissioned other instruments, but Max has shown more attention to detail and concern for my input than any other builder I’ve worked with.

I have nearly enough guitars and guitar-like instruments to create the full range of what I think of as a guitar orchestra. I have perfected the technique of bowing the instrument and of creating harmony using wind over the strings. The new instrument will provide me with the bass foundation and cello range. The low note will be 55 Hz, low enough to cover the bass range.

[SJ VanSandt]

This is an intriguing project, Don - I'm looking forward to seeing it develop. I made the mistake of looking you up on Youtube and got sucked into an hour's worth of very cool videos. Very tasty playing and some very outside-of-the-box ideas. I'm going to explore your lessons more thoroughly - some very clear and useful explanations.

I like this one a lot. https://www.youtube.com/watch?v=zEhn8jKm7qc Good bass player too.

[justonwo]

Looks great. Love that wood.

[Diamondave]

Hi Don, congrats on your Baritone build...! I recently scored my first baritone and I've really been enjoying it.... I've been hearing great things about Max's work, good call.... Fun to watch this come together, thx for sharing...

[colins]

Looks like it will be a fine guitar, and baritones are something special too.

Thanks for starting the thread; I'm looking forward to more posts!

[s2y]

Baritones are nice to have in the arsenal. I have a 28.6" scale maple jumbo. I probably should have gone with 27" scale since I'm small. The longer scale length sounds amazing.

[Ryan Alexander]

Hmmm ... I like where this is going! I may have missed it, but what scale length are you going with? I had one from Marc Beneteau that was 28" and I found it a good balance between tone and playability.

[Don Latarski]

The new instrument will have a scale length of 710mm (27.95 inches). This is manageable with practice. I sit using the classical guitar approach and this makes access to the higher positions more comfortable and overall gives me better hand position. My back gets a little tired after some time, but I persist.

[Don Latarski]

I'm experimenting a great deal with putting guitars in water. I know this sounds odd, but check out the video on my youtube channel called Water Guitar #1.

[emmsone]

Originally Posted by Don Latarski

I'm experimenting a great deal with putting guitars in water. I know this sounds odd, but check out the video on my youtube channel called Water Guitar #1.

So has Max incorporated any waterproofing into the design on this build?

[Don Latarski]

That isn’t part of the design spec on this model!!

[Don Latarski]

Sept. 29, 2018 update

I’ve been getting regular updates from Max on the progress of the baritone guitar he’s building for me. Most recently he has glued the top to the rim and started the critical voicing process. Some of the challenges in building a guitar of this type relate to the bracing scheme (there will likely be more stress on the braces due to the mass and tension of the heavy strings), and the top will likely be under more stress as well. Max has been researching these and other issues that are unique to such an instrument and has a design which will allow the instrument to handle these challenges.

Why a baritone? Quite some years ago I realized that one of my acoustic handmade guitars didn’t have a very distinctive and clear personality. Yes, I was initially in love with the sound of that instrument, but over time, my feelings changed. My belief is that every guitar has a “sweet spot.” With the standard tuning this particular instrument just didn’t have much magic going on. I started detuning it first down one half-step and immediately was struck with the feeling that I was going in the right direction. After more detuning I came to settle on using the standard interval tuning but with the bass string being down a minor 3rd from standard. (This is not an open tuning, so I could still use the chord voicings, scales, and arpeggios I was familiar with.) My low string is C#. I discovered a heavy set of strings that worked perfectly and that is the tuning that this guitar stays at. Incidentally, with strings like this the mass compromised the ability of the instrument to play in tune. I therefore needed a longer neck. Eventually, Saul Koll (Portland, Oregon) made one for me. This sorted out the tuning issues perfectly. With the custom Spohn baritone these issues are understood and the design and construction method will effectively balance the competing forces.

There are several tunings that fall into the “baritone” category. In my mind, any tuning that is a minor third or greater which is lower than standard tuning is in the baritone range. From a musical perspective I play a baritone guitar differently than a standard tuned guitar. This is an individual choice, but for me low notes require “space.” In other words, to play close intervals (major 2nd’s and 3rd’s) against a low tone produces a confusing and unclear sound. Perhaps that is what you might like, but that isn’t a sound I enjoy. My point is, is that you have to experiment to find what works on the instrument, but this is true of all instruments.

With low tuned instruments there is a tendency to use the lowest note often. I can understand this as there is nothing more powerful than the lowest string played open. However, the danger is that to many songs use the same key! I’ve heard this issue with people using D-A-D-G-A-D tuning.

Max has come up with a body shape that is flowing, curvaceous, and inviting to hold. The addition of the beveled upper bout will make it even more comfortable to spend long stretches of time with.

Please feel free to contact me if you'd like more information about baritone guitars.

[Don Latarski]

Neck building

My baritone guitar project being built by Max Spohn is getting pretty close to being complete. At this point the neck has been carved and shaped to our mutually agreed upon specifications. We’ve spent quite a bit of time talking about the width, thickness, and shape. We also talked about those all important fret dots.

When you play club gigs you are often in dimly lit environments. Without fret dots, confidence and accuracy can really suffer. So the important thing is to have some type of marker that stand out from the surrounding wood on the topside of the neck. They don’t have to be huge, just have enough contrast. If you teach guitar students need some easy way to see where your hand is on the neck; fret markers visible on the surface of the fingerboard help. They don’t have to be big rectangles or large circles as you will see in a later photo.

Max has really given me some great photos and a step-by-step explanation about how a slab of raw wood is sculpted into a sensuous shape that you can’t keep your hand off. After all, this is the part of the guitar that one has the most intimate relationship with when playing. The other hand is on metal strings and I’ve never thought of that relationship as anything other than utilitarian. You don’t really caress the strings like you do with the neck.

With a guitar that uses strings that are by all measures, huge (from a normal guitar perspective), string spacing, height, neck width, shape, and thickness are all critical considerations. I personally love a larger neck and this guitar will have it! Do not fear the large neck. I’m totally convinced, from personal experience, that the neck is a huge contributor to overall tone and sustain. I never used to think this way, but after some experimentation with bolt on style necks on electric guitars I know for certain just how important the neck is concerning tone and sustain.

If you use your thumb to fret notes on string 6 you need to be VERY concerned about neck shape. If the neck is too thin, your thumb will have a very difficult time fretting any note on string 6. I’d recommend a “C” shape, which provides plenty of support for the fretting hand and will make it easy to wrap the thumb around. I know this isn’t a technique used by classically trained guitarists, but for my style, which involves quite a bit of muted string percussion, this technique has proven invaluable and does serve my sense of expression really well. The classical guitar neck is very wide and often very thin, which suits the requirements of that repertoire. Since I’m not bound by that repertoire I can use whatever technique I’m comfortable with.

Here are some great photos and short descriptions of the process Max uses in building his necks. It is difficult for me to really understand the vision you need to go from such a raw state to the finished neck and maintain the correct taper from fret one to fret 12, get the shape correct, avoid flat spots or bumps, and generally not make a mess of it. Like anything, you probably have to screw some up to get good at this critical part, but it must be painful to have to throw a botched neck away.*

Step 1: Fit the neck to the body.
Step 2: Glue on the fretboard.
Step 3 Rout the neck flush to the fretboard.



Step 4: Get the neck thickness close with a rasp. (A rasp is a coarse form of file used to roughly shape wood.)


Step 5: Get the centerline on and get two bevels on. (The bevel is an angle cut or shape on either side of the neck.)


Step 6: Get the neck profile rough.


Step 7: Use a big sanding block to get the profile smooth over the full length and width.


Step 8: Carve the volute (a spiral or scroll-shaped form). I use a rasp and a file for that but another good tool is a sharp carving knife.


9: Fit the heelcap to the neck so that it lines up nicely with the binding and purfling. (Purfling is a narrow decorative edge inlaid into the top plate and often the back plate of a stringed instrument.)


10: Carve the neck heel with a rasp and later with a file.


All the rest is sanding and a lot of back and forth.

Here are some good pictures of the bevel where my arm will rest. This feature really enhances the beauty of the instrument for me.

[emmsone]

It looks great Don!! I'd been waiting for more updates on this build, it's a really interesting one. I'm excited to see and hear how this one comes out

[justonwo]

Looks glorious. Thanks for posting the photos!