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  #61  
Old 04-02-2015, 06:09 PM
guitargarden guitargarden is offline
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Don't rule out Lutz with Ovangkol for a Halcyon either. Makes even a small Halcyon sound larger than it is!
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  #62  
Old 04-03-2015, 07:05 PM
Hinto Hinto is offline
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My dread is a Lutz Ovangkol. It's quite nice IMO. I think Ed agrees
  #63  
Old 04-03-2015, 07:24 PM
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On my GC trip the wood that was most surprising in terms of striking aesthetics was definitely ovangkol. Absolute stunner. My unsophisticated ears couldn't really tell much difference in tone from rosewood, but then again I couldn't tell much difference from hog either!
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  #64  
Old 04-06-2015, 01:52 PM
JosephKim JosephKim is offline
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Would you say the Lutz creates more overtones than typical Sitka/Rosewood guitars you've played?

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Originally Posted by fountainhead View Post
My Lutz/Rosewood AJ is phenomenal! It has a rich tone, but never at the cost of clarity and note separation. Rich, but never muddy. Great at strumming, but handles being finger picked beautifully ( I finger pick 90% of the time). I would call this pairing- incredibly versatile! Highly recommended.
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  #65  
Old 04-06-2015, 02:58 PM
guitargarden guitargarden is offline
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To my ears, a Lutz Spruce top adds warmth akin to Engelmann Spruce, but has greater headroom than Engelmann Spruce. In other words, the guitars that I've had with Lutz Spruce tops generally handle strumming better than their similarly sized Engelmann Spruce topped bretheran. Yet the Lutz Spruce topped guitars handle finger style well, which makes them quite versatile. Again, to my ears, Lutz Spruce does not seem to enhance or create overtones. Based on my experience, I don't notice more or less overtones when comparing Lutz Spruce to Engelmann Spruce to Sitka Spruce. In fact, the Lutz Spruce sounds "crisper" than Engelmann Spruce, although not as "crisp" as Sitka Spruce. My impression is that overtones are largely the realm of the wood used for the back and sides, e.g., both EIR and Ovangkol generate more overtones than Mahogany. Of course, the luthier's own special voicing, along with the bracing and the woods used for the braces, play a role too. That's my .02! Hope it's helpful.
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Last edited by guitargarden; 04-06-2015 at 03:03 PM.
  #66  
Old 04-06-2015, 03:00 PM
Halcyon/Tinker Halcyon/Tinker is offline
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Well said^
  #67  
Old 04-06-2015, 03:05 PM
psychojohn psychojohn is offline
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Quote:
Originally Posted by guitargarden View Post
To my ears, a Lutz Spruce top adds warmth akin to Engelmann Spruce, but has greater headroom than Engelmann Spruce. In other words, the guitars that I've had with Lutz Spruce tops generally handle strumming better than their similarly sized Engelmann Spruce topped bretheran. Yet the Lutz Spruce topped guitars handle finger style well, which makes them quite versatile. Again, to my ears, Lutz Spruce does not seem to enhance or create overtones. Based on my experience, I don't notice more or less overtones when comparing Lutz Spruce to Engelmann Spruce to Sitka Spruce. In fact, the Lutz Spruce sounds "crisper" than Engelmann Spruce, although not as "crisp" as Sitka Spruce. My impression is that overtones are largely the realm of the wood used for the back and sides, e.g., both EIR and Ovangkol generate more overtones than Mahogany. Of course, the luthier's own special voicing, along with the bracing and the woods used for the braces, play a role too. That's my .02! Hope it's helpful.
Not that it matters, but I agree. Lutz warmer than Sitka.
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  #68  
Old 04-06-2015, 03:24 PM
fountainhead fountainhead is offline
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Yup- I'd say Guitargarden did a fine job of summing Lutz spruce up! I'm extremely happy with it as a top wood!
  #69  
Old 04-06-2015, 07:12 PM
fregly fregly is offline
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I should start a new thread for this question. How about a pic of the bracing system, and something about the differences of the Tinker line. Character of the voice too -- is this Larrivee inspired or what is the best comparison. So far I'm just getting they sound really good and we have happy owners.
  #70  
Old 04-06-2015, 09:41 PM
Halcyon/Tinker Halcyon/Tinker is offline
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Not much difference structurally in the bracing between the two lines, but the Tinkers have slightly different geometry and a lot more work hours put into detail work, and much fancier wood generally, and a full gloss finish.

The bracing system is Martin and Gibson braced, ie 'traditional' and not at all Larrivee. If you're interested, you can see all sorts of pics on the Halcyon Guitars Facebook page. Builds past and present, there's lots of bracing photos on there I'm sure...
  #71  
Old 04-07-2015, 08:46 AM
JosephKim JosephKim is offline
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Thanks this helps a lot! My usual tonal preference is for Sitka/Rosewood but I wanted to try a Lutz top. Was concerned about overtones because I play in church and strum a lot. After flip-flopping between different woods for back/sides I think I am going to commit to EIR.
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  #72  
Old 04-07-2015, 10:47 AM
bhbayless bhbayless is offline
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Ed, I'm curious about something.
Knowing that you worked with Jean Larrivee for many years, I was wondering if you brought any techniques or inovations ( for lack of better words ) with you that you incorporate into your guitars? For instance, do you use a compound radius on your necks etc.
I understand if you'ed rather not answer, I hope I'm not out of line in asking.
  #73  
Old 04-07-2015, 04:15 PM
Halcyon/Tinker Halcyon/Tinker is offline
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Joseph,

EIR is a fine choice. The lutz adds warmth to the tone over sitka, without sacrificing anything at all IMO. We use it 90+% of the time. Though perhaps that is because I recommend it to everyone unless they specifically want something else, which is also ok. The modest upcharge is very much worth it I feel.

bhbayless

No I don't mind questions about facts at all. If I don't want to answer a question I just won't, and will probably say so, but no harm in asking, I say.

It's important to distinguish that I worked 'for' Jean, not 'with'. The majority of my tenure there was after JCL left Canada in his past for sunnier climes. It would be more fair to say that I worked 'with' his son, JML, and the many, many, dedicated folks that kept the ship afloat in arduous circumstances.

We do indeed use a compound radius fingerboard, on an old Larrivee machine. A very clever contraption for certain. You can go from a raw fingerboard to ready for fretting in under a minute. That, and the general neck profile, a C neck which is pretty much what happens when you attack a neck with rasp and chisel, are about the only things similar. And clear pick guards perhaps. And same nuts and saddles. And pins. And frets. And truss rods. Lol

But as for general construction practices, I have developed my own methodology based on the tools and circumstances of my own needs. I have different objectives.
  #74  
Old 04-07-2015, 05:08 PM
bhbayless bhbayless is offline
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Thanks Ed.
I thought I could feel as I moved up the neck but couldn't really see it as I sighted down it, old eyes I guess.
  #75  
Old 04-20-2015, 01:50 PM
JosephKim JosephKim is offline
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So I had settled on EIR, then last minute change to Black Walnut, then took it in a completely different direction.

Let's just say it's a surprise wood and if Ed can pull it off I will be extremely impressed!
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