#286
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Beautiful Mark, great choice of timbers!
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1995 Maton EM725C - Solid 'A' Spruce Top, QLD Walnut B&S, AP5 Pickup 2018 Custom Built OM - Silver Quandong Top, Aussie Blackwood B&S, Fishman Matrix Infinity Mic Blend Pickup 2021 Faith Neptune Baritone - Solid Englemann Spruce Top, Solid Indonesian Rosewood B&S, Fishman INK3 Pickup 2022 Yamaha SLG200S Silent Guitar |
#287
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That purfling really is special.
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#288
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Quote:
There really is something special about the cedar/walnut combination. It makes for a very light, responsive, and versatile guitar. Thanks! There are quite a few different woods on this guitar that were selected quite intentionally. I've mentioned it before but, part of my planning is to set the perspective wood selections up on the bench at the back of my shop. They are always in view yet out of the way. I place and pull different candidate woods in passing throughout the day and it seems to come together quite naturally that way. I should call that back wall "The Dart Board". It's really filling up now. I've scheduled a number of builds to bring to future shows so I'm working on all of my models in a range of options. Thanks, that Zebrawood makes great radial purfling. Kind of a natural wood sparkle. Mark
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Mark Hatcher www.hatcherguitars.com “"A conclusion is the place where you got tired of thinking". Steven Wright |
#289
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So I was Thinking
Dano's guitar was sent off to the finisher and I've started working on building up a number of spec guitars so that I can do a couple shows. I got to thinking
(uh oh) I was thinking it would be nice to have a prospective customer play what I would consider a pretty well balanced guitar but, have them wear headphones and listen through an equalizer. They could then adjust the equalizer to what sounds best to them. Then I would try to make them that guitar. It could possibly bring out areas in the tonal range they favor and it may also bring out frequency ranges that they were particularly sensitive or insensitive to. I would make recommendations to which model and wood selections and I'd work to voice the guitar to match (to the best of my ability) what their preference was. Seems like a pretty simple test unless the right channel on the equalizer was set grossly different from the left channel. I guess the best solution for that would be to make them two guitars! What do you think of that idea? Mark
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Mark Hatcher www.hatcherguitars.com “"A conclusion is the place where you got tired of thinking". Steven Wright Last edited by Mark Hatcher; 11-11-2015 at 08:25 PM. |
#290
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Any time I start thinking, I get in trouble!!! Even so, this seems like a pretty nice idea. Not sure how you adjust for any kind of sustain, for more or less as desired, or any other qualities, but it would certainly help you drill down more closely to what someone would like to hear out of a finished guitar.
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--------------------------------------- 2013 Joel Stehr Dreadnought - Carpathian/Malaysian BW 2014 RainSong H-OM1000N2 2017 Rainsong BI-WS1000N2 2013 Chris Ensor Concert - Port Orford Cedar/Wenge 1980ish Takamine EF363 complete with irreplaceable memories A bunch of electrics (too many!!) |
#291
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Mark Hatcher www.hatcherguitars.com “"A conclusion is the place where you got tired of thinking". Steven Wright |
#292
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Chuck 2012 Carruth 12-fret 000 in Pernambuco and Adi 2010 Poling Sierra in Cuban Mahogany and Lutz 2015 Posch 13-fret 00 in Indian Rosewood and Adi |
#293
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Your right, it would not be a test for any of those aspects. It also would not accommodate the infinite variables that a person's perception goes through from moment to moment effected by mood, medications, recent exposure to noise, attention, blood pressure, anxiety, etc.
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Mark Hatcher www.hatcherguitars.com “"A conclusion is the place where you got tired of thinking". Steven Wright |
#294
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Quote:
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--------------------------------------- 2013 Joel Stehr Dreadnought - Carpathian/Malaysian BW 2014 RainSong H-OM1000N2 2017 Rainsong BI-WS1000N2 2013 Chris Ensor Concert - Port Orford Cedar/Wenge 1980ish Takamine EF363 complete with irreplaceable memories A bunch of electrics (too many!!) |
#295
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I like your thinking outside the box.
I have a hard time seeing something like that work. My suggestion, though impractical for other reasons, is for you to have a dozen different guitars to play. Then the client could say, I like this about this one or I like this about that one. No fancy inlays or rosettes or purfling required. Just pure tone examples. I'm sure you could put that dozen together in no time at all.
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Dano |
#296
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Quote:
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Hatcher Woodsman, Collings 0002H, Stella Grand Concert |
#297
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Sounds like you'd welcome the opportunity to financially support a luthier for a year while they experiment.
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#298
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Thanks for the input everyone. I guess this points to the best way for getting to know someone's preferences is to put a guitar in their hand and ask what do you like and what would you change. So having a number of my guitars on hand would be a great help for studio visits as well as shows.
I had written earlier that I have scheduled 4 builds already. Here is what I am planning this winter to work on; Pina Parlor with quilted Redwood on flamed Claro Walnut Penelope 12 fret with Swiss Spruce on Black Gabon Ebony Greta grand auditorium with Western Red Cedar on BRW Josie small jumbo with quilted and bear claw Sitka on quilted Big Leaf Maple I think that, while there may not be 12, this is a pretty good assortment of what I do. There will be a lot of different options used with these as well. Mark
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Mark Hatcher www.hatcherguitars.com “"A conclusion is the place where you got tired of thinking". Steven Wright |
#299
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Sounds like an excellent idea, Runamuck, and I'm going to do exactly that as soon as my lottery numbers hit!
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Hatcher Woodsman, Collings 0002H, Stella Grand Concert |
#300
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I was checking in for the latest photos and realized you have achieved 300 posts again. Time for chapter 3.
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Life is like a box of chocolates .... |