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Slow day one at La Conner, which is the usual thing, though I always hope for better. Very pleasant day none the less catching up with the peers, and do I mention the “Blue Room” yet? Of course not, I had only the name, not the reality, which is that lunch does not begin to describe the opulent feast made available all day to the exhibitors and their staff. Way beyond reasonable expectation.
Had a pleasant dinner in one of the half dozen cafe/restaurants along the promenade separating the town from the waterfront. And not pricey at all either, though I am betting that too is available, judging by breakfast at $24 before tip and merely 2 eggs, potato’s, toast and coffee (for 2). Tonight I expect to abandon Linda in the hotel and head up to the Cantina event with music and alcohol. If able, I may fill you in tomorrow. |
#62
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The blue room...ahh...what a treat. The luthiers are indeed being treated well.
Here's a shot of Bruce shortly after lunch, and he's still smiling! IMG_2013.jpg Steve |
#63
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As I was about to enter the Cantina, Ben Wilborn and his musical partner, Brad, in company with Sparky popped out and we walked down to the event venue where we stood around in the cold for an hour yakking. At some point we were joined by Bruce and Matt Petros. That’s what happened last night.
Brad and Ben are also known as “Frog and Toad” in their musical life, and have a CD by that name. You should be willing to go out of your way to hear it IMO. Today was adequately busy at the show. It was a blur. George who is moocatdog on UMGF visited, and three separate people seemed actually interested in my work. My best friend from high school lives in this area, and he and his wife (Karl and Kate) joined Linda and I for dinner. We will check out of the hotel in the morning, have a 3rd breakfast at Calico Corner, do the show (lunch in the “blue room”), and put 100 miles on the car before dinner. That’s the plan. Who knows what will really happen. |
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Bruce nice to meet you and your wife yesterday at La Conner. Enjoyed your anecdotes about bass maker James Ham, and guitar luthier Michael Dunn's russian sidecar motorcycle! Michael does often show up at gigs with his guitar in the sidecar.
After we talked to you Marcia and I had the privilege of seeing Paul Asbell showcase a guitar. We sat 6' feet away and received a 30 minute masterclass in finger style blues, jazz melody chording and lead soloing. Very inspiring. Had to leave with his cd! Hope you enjoy your La Conner visit, perhaps see you in Vancouver for the guitar show this summer. Regards Casey & Marcia
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2002 Larrivee LV-03 2016 Larrivee D40re '60s Aria classical A554S serial # 00001 various basses and uprights Last edited by Casey86; 05-13-2018 at 10:17 AM. |
#65
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PS. I love guitars! |
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#67
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We're home from La Conner and all of our pets made it in good health and greeted us heartily, especially the dog who howled in delight. He is NOT a hound.
Did an unexpected thing and bought a guitar! I was overwhelmed by its beauty and lost control of myself. I'll bet many of you know what I'm talking about. "Comes around/goes around", or "pay it forward". I'll post pictures when it gets here on Friday. The maker's first name is Tyler, and I don't actually know his last name yet. I am thinking he is headed for greatness. I also picked up a Humphrey amplifier, which I have wanted to do since a couple of years ago when I tried one which has haunted me ever since. If I'm going to play plugged in (I am) I may as well sound GREAT. |
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That is too funny, you were suppose to sell not buy. That is quite an endorsement for Tyler What's His Name, to make you impressed enough to pull the trigger!!! WOW
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PS. I love guitars! |
#71
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The mystery deepens as I'm not seeing a luthier named Tyler on the La Conner Guitar Festival site?
Looking forward to seeing your new guitar, Bruce!
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2013 Stehr Auditorium (Carpathian/Myrtle) 2015 Stehr Auditorium (Adi/BRW) 2020 Baranik Meridian (Blue Spruce/Manchinga) 2020 Wilborn Arum (Tunnel 14/Coco) 2021 Kinnaird Graybeard (BC Cedar/Bog Oak) 2022 Kinnaird CS Student Build (Adi/Padauk) 2023 Kinnaird FS (Italian/Koa) |
#72
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Looking forward to seeing the guitar and hearing more about the luthier - coming with praise from you should certainly boost his career!
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Tyler had just the one guitar on the table, and it wasn’t his table. He has been working for Tom Ribbecke for several years, though this instrument has little in common with Tom’s work as far as I can see. I imagine Tom will have had more to do with Tyler’s future then I, but history will be the judge.
Tyler is delivering it at 8 am tomorrow, which is quite early for me. I used my Humphrey Amp yesterday in rehearsal with my dinner jazz group, and it actually does sound great. My current amp is merely very good; it seems that the best solid state amps approach tubes ever more closely, but never actually get there. Of course the Humphrey is 4x the price. It would seem duplicitous to me to expect people to pay more for my Guitars because they sound better, and not do the same for myself. |
#74
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Maybe not an entire book, but I’d love a paragraph or two |
#75
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Well. It really could be a book, and the Australian contingent has written a big one partly on the subject. Aussie Trevor Gore is the author, I believe.
The upshot is the thesis for what I call the "modern Guitar", which i define conceptually as a speaker mounted in a cabinet. The object being to isolate the top from the rest of the guitar and keep the energy in the top turning as much as possible into sound. This is the extreme, and many proponents do not go all the way. Some do, and may put quite a bit of weight onto the sides to increase their inertial resistance, I'm talking pounds! The other view has it that sheer volume is over rated, and that the ideal tone of a guitar comes from having the whole structure involved in the vibration. For luthiers such as these, myself among them, adding hard spots, which would be rigid or heavy local areas, can be viewed as impediments to the flow of energy. Most builders walk a line between the extremes, whether they are aware of it or not, and I have come to think that it is more challenging to find ones "true voice" if in the confusing middle ground. It is usually better to take a stand in lutherie as in life. But I may be wrong, I have taken a stand and it works well for me; experiences will vary. Regarding reversed linings specifically: Because they add a sort of second member parallel to the sides, they cantilever rigidity projected into the plate. My view it that while I do want the plate to side connection to have great integrity, adding rigidity to the plate it the last thing I want to do as it impairs every aspect of the guitar as I conceive it except only possibly tone, and I seriously doubt that. I have not read Trevor's book, though I have been in many discussion rooted in it. It is probably broader that I know, but has certainly contributed to my knowledge, particularly where "other" concepts are concerned. Being experienced and set in my ways, I am unlikely to pursue it further. What I do know of it seems quite contrary to me, possibly misguided given my own goals. There are many ways to skin a guitar! |