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  #31  
Old 01-21-2016, 08:28 AM
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Default Oh that Kevin Ryan Florentine...pics (lots of'em)



















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  #32  
Old 01-21-2016, 08:31 AM
JoeCharter JoeCharter is offline
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You've chosen the "right" specs (IMHO of course) and the guitar looks wonderful so far.

Congrats!
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  #33  
Old 01-22-2016, 05:33 PM
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Default Kevin sent me pics of his shop! Super cool.

8 hand sanders (or routers?)! (And my guitar )







How many guitars can you spot?

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Last edited by JJI; 02-15-2016 at 12:23 AM.
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  #34  
Old 01-22-2016, 05:50 PM
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She is big, she is bold she is Beautiful...you are going to love this Josh.
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  #35  
Old 01-22-2016, 09:04 PM
rogthefrog rogthefrog is offline
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Quote:
Originally Posted by JJI View Post
My mom absolutely adores it! It sits next to her OM-42

Are you asking about the Acoustic Honeycomb? The big thing with holes in it...
Yes, that. How does it work?

Not surprised your mom likes that guitar. It really is very nice.
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  #36  
Old 01-23-2016, 06:22 AM
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Looking good!
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  #37  
Old 01-23-2016, 07:48 AM
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If I may say.... That is the sexiest guitar (or soon to be) that I've ever seen (sorry Joel!). Really like the shape and proportions of the body (especially the depth of the box) and the BRW used. Can't wait to see the front dressed up with pearl/abalone!
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  #38  
Old 01-23-2016, 02:51 PM
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Highly over-rated. Could easily churn these out of Taiwan with CNC... ARE YOU KIDDING?!?!?

I am always in awe of Ryan guitars. I would LOVE to just get my hands on one some day, let alone own one. This shot below is just stunning to me. The amount of thought, fine tuning... the genius of Kevin Ryan... it's in this shot. From his kerfing to the unique bridge plate, the braces that have been almost vented... it's like looking at a $2 million hand built Koenigsegg Regera (car), where every opportunity to reduce weight has been used.

With many custom builders I find myself asking, "what am I paying for this much for?" When I look at a Ryan guitar, inside and out... I know what I am paying for!!

Thanks for sharing the build!

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  #39  
Old 01-24-2016, 12:37 PM
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Originally Posted by rogthefrog View Post
Yes, that. How does it work?

Not surprised your mom likes that guitar. It really is very nice.
It's actually the Ryan Guitars take on the double top...




Copied from Kevin's website

Ryan Guitar Innovations
Acoustic Honeycomb

For a number of years the concept of a double-top soundboard has been gaining appreciation and acceptance in the steel-string world. Ryan Acoustic Honeycomb is my take on this concept. I wanted to retain a very wooden and organic sound, so I have chosen to make my Acoustic Honeycomb entirely from wood.
The engineering philosophy behind a Double Top leverages the incredible stiffness of an I-beam design. I will spare you the involved mechanics of the thing, but just know that the two plates that comprise the Acoustic Honeycomb (just as in a Double Top) are separated by an extremely lightweight core with the two “skins”, one on each face, bonded to this core. One of the “skins” is, of course, the soundboard. The resulting plate assembly is phenomenally stiff and light. This concept was common in the Northrop Aeroscience Laboratory where I worked in the late 80s and mid 90s as a research assistant, testing fighter jet designs in our transonic wind tunnel.
In the popular Double Tops now being made, the core is Nomex, a phenolic honeycomb material. In the common method in vogue right now, the entire soundboard is this bonded assembly. The honeycomb is a section of quarter-sawn spruce which I laser-cut here in my shop. My thinking was to instead leverage the marvel of this design only in the area immediately behind the bridge where the lion’s share of the tone is generated and where most of the torque and stress of the bridge is concentrated. The goal is to reduce the mass of the soundboard in the area I call the Acoustic Crescent--that sweeping arc just behind the bridge and which extends to each edge of the soundboard. This has allowed me to altogether eliminate every single soundboard brace below my EO X-brace (I have kept all the EO Bracing above the X-brace unchanged).
Nearly light as air, this new plate bracing the soundboard is nonetheless stiffer than any traditional bracing scheme. I believe it also affords the complementary benefit of quickly transmitting acoustic energy to a wider area of the Acoustic Crescent. The bridge pins extend through the bridge, soundboard and APP to anchor the string ball ends against a laser cut ebony plate designed to be as small as possible. A pinless bridge is also very viable with this system.
The net acoustic result of this new Acoustic Honeycomb is to create a light, stiff and consistent soundboard that is very responsive to the lightest touch on the strings. But it is robust enough to welcome an aggressive attack to the strings as well. And to top things off, I find a lovely shimmer and sparkle at the upper registers and partials of the notes, especially the trebles. (For more information about harmonics, technically known as “partials”, please see my article on Tempered Tuning).
The Ryan Acoustic Honeycomb is now standard on all Ryan Guitars.
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Guitars by,
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Jayson Bowerman
&
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  #40  
Old 01-24-2016, 02:26 PM
rogthefrog rogthefrog is offline
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Quote:
Originally Posted by JJI View Post
It's actually the Ryan Guitars take on the double top...




Copied from Kevin's website

Ryan Guitar Innovations
Acoustic Honeycomb

For a number of years the concept of a double-top soundboard has been gaining appreciation and acceptance in the steel-string world. Ryan Acoustic Honeycomb is my take on this concept. I wanted to retain a very wooden and organic sound, so I have chosen to make my Acoustic Honeycomb entirely from wood.
The engineering philosophy behind a Double Top leverages the incredible stiffness of an I-beam design. I will spare you the involved mechanics of the thing, but just know that the two plates that comprise the Acoustic Honeycomb (just as in a Double Top) are separated by an extremely lightweight core with the two “skins”, one on each face, bonded to this core. One of the “skins” is, of course, the soundboard. The resulting plate assembly is phenomenally stiff and light. This concept was common in the Northrop Aeroscience Laboratory where I worked in the late 80s and mid 90s as a research assistant, testing fighter jet designs in our transonic wind tunnel.
In the popular Double Tops now being made, the core is Nomex, a phenolic honeycomb material. In the common method in vogue right now, the entire soundboard is this bonded assembly. The honeycomb is a section of quarter-sawn spruce which I laser-cut here in my shop. My thinking was to instead leverage the marvel of this design only in the area immediately behind the bridge where the lion’s share of the tone is generated and where most of the torque and stress of the bridge is concentrated. The goal is to reduce the mass of the soundboard in the area I call the Acoustic Crescent--that sweeping arc just behind the bridge and which extends to each edge of the soundboard. This has allowed me to altogether eliminate every single soundboard brace below my EO X-brace (I have kept all the EO Bracing above the X-brace unchanged).
Nearly light as air, this new plate bracing the soundboard is nonetheless stiffer than any traditional bracing scheme. I believe it also affords the complementary benefit of quickly transmitting acoustic energy to a wider area of the Acoustic Crescent. The bridge pins extend through the bridge, soundboard and APP to anchor the string ball ends against a laser cut ebony plate designed to be as small as possible. A pinless bridge is also very viable with this system.
The net acoustic result of this new Acoustic Honeycomb is to create a light, stiff and consistent soundboard that is very responsive to the lightest touch on the strings. But it is robust enough to welcome an aggressive attack to the strings as well. And to top things off, I find a lovely shimmer and sparkle at the upper registers and partials of the notes, especially the trebles. (For more information about harmonics, technically known as “partials”, please see my article on Tempered Tuning).
The Ryan Acoustic Honeycomb is now standard on all Ryan Guitars.
Very cool. Thanks for the explanation!
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  #41  
Old 01-24-2016, 07:25 PM
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I look forward to seeing more pictures and description as your build progresses! Kevin Ryan is an amazing builder, excellent choice.
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  #42  
Old 01-25-2016, 05:58 AM
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Josh, congrats on the build. Kevin Ryan makes some of the best guitars on the planet. Truly world class in every way. And they sound and play even better than they look and that's quite a statement!

I absolutely adore my African blackwood Cathedral. One of the biggest sounding guitars I've ever played. Welcome to the Ryan family!



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  #43  
Old 01-25-2016, 06:49 AM
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Oh man... You won't regret it...I'm excited for you! I just bought a Rod Schenk FE Grand fingerstyle and am in love. Like Kevin Ryan, and Tony Yamamoto, Rod Schenk is an engineer. When guys like this combine luthiery with their technical background then the end result is something very special. Precise is a great word to describe it! All the best to you and your new baby!!
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  #44  
Old 01-26-2016, 09:39 AM
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JJI JJI is offline
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Quote:
Originally Posted by ericcsong View Post
Josh, congrats on the build. Kevin Ryan makes some of the best guitars on the planet. Truly world class in every way. And they sound and play even better than they look and that's quite a statement!

I absolutely adore my African blackwood Cathedral. One of the biggest sounding guitars I've ever played. Welcome to the Ryan family!



Sent from my Nexus 6P using Tapatalk
Eric knows that this guitar sparked my love a couple years back for Ryan guitars and also my black pearl appreciation. He sent me pictures quite a while ago and his Ryan logo is black pearl...I loved it. It actually disappears in certain light and I tell him all the time that the top on his Cathedral is just stupid...you should take a look.
Kevin and I are using a fair bit of black pearl but we are also "hiding" all of it with other blacks. The fretboard is Ebony and the binding as well but Kevin is also doing the staining so the black pearl around the soundboard will be in between both. Hopefully creating a very subtle, unique look to the guitar.
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Guitars by,
Gage Halland
Jayson Bowerman
&
John Datlen

Josh Isaacs Photography
www.jjisaacs.com
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  #45  
Old 01-26-2016, 09:43 AM
ericcsong ericcsong is offline
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Quote:
Originally Posted by JJI View Post
Eric knows that this guitar sparked my love a couple years back for Ryan guitars and also my black pearl appreciation. He sent me pictures quite a while ago and his Ryan logo is black pearl...I loved it. It actually disappears in certain light and I tell him all the time that the top on his Cathedral is just stupid...you should take a look.
Kevin and I are using a fair bit of black pearl but we are also "hiding" all of it with other blacks. The fretboard is Ebony and the binding as well but Kevin is also doing the staining so the black pearl around the soundboard will be in between both. Hopefully creating a very subtle, unique look to the guitar.
What inspired it for me was this black pearl inlay done by Larry Robinson on an african blackwood Cathedral. I played it and fell in love instantly with that big Cathedral sound. I was on the phone pretty soon after changing my Brazilian Nightingale commission to an African Blackwood Cathedral



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