#16
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It’s time to continue this saga: the guitar arrived and once it had acclimated, I opened the case. Wow! It was even more beautiful than in the pictures. The bearclaw figure really popped. The miters were tight, the hues of the Cocobolo rich, and the inlays and binding clean. I tuned it up and began playing. I instantly liked the voice: the balance across the register with a deep bass than was present and defined, and did not overpower the trebles. It sounded a little stiff, but that’s to be expected after a chilly shipping experience.
I emailed Mark, complementing his lutherie, and continued to play my new Hatcher over the next week. It began to sound less tight as it emerged from late winter shipping hibernation, but it never developed the full responsive nature I require in a fingerstyle guitar. For that’s what I thought this was: the cutaway, deep waist, lack of a pickguard, and wider saddle spacing all conveyed “fingerstyle instrument” to me. A thoroughly enjoyable phone conversation with Dennis (cigarfan) confirmed my impression: in addition to previously owning this very guitar, he had played other Hatcher builds and gone the custom route with Mark. So Dennis knew what he was talking about. I got some of the back story from him and followed up with Mark himself: in short, while speced like a fingerstyle instrument, this particular Greta was built to handle a heavy right hand per the original client’s request. That means a thicker soundboard, thicker bracing, etc. I play with a notably light touch—other players often remark at how little I really dig in—so that explained why I wasn’t pulling out the sounds I wanted. After talking with Dennis I got a crazy idea: what if Mark was willing to shave down the braces? Sure, I could sell the guitar, but I liked its fundamental voice and, as this thread has hopefully communicated, appreciated its aesthetics, too Mark was willing to do that work at no cost, but he pointed out that to truly optimize the guitar for fingerstyle it would need a new top—a top built toward that end from the beginning. We bounced some ideas back and forth. He suggested Redwood, and that’s how I knew we were on the same page—I was already leaning that way since it’s my favorite soundboard material. As it turned out, Mark had recently acquired several sets from various Carter trees (including of Lucky Strike) and had a nice supply wood salvaged from Tunnels 13-15, too. He said he could squeeze me into December so I told him I’d think about it and get back to him. I did so, and off we went. Now, astute readers you are, you may be confused: if you settled on Redwood, then why does the first post speak of Western Red Cedar? Well, that is a tale for next time. Last edited by Erithon; 12-14-2018 at 04:32 PM. |
#17
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One of my favorites of the guitars that I own is a cocobolo 12 fret cutaway. I 'm a big fan and Mark certainly does lovely work. Looking forward to hearing more.
Best, Jayne |
#18
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He does indeed, Jayne! Who built your 12-fret Cocobolo guitar?
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#19
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I set out to play as many Hatcher guitars as I could. I think managed to try eight overall? This past summer I reached out to ukejon and he generously welcomed me into his home to play his Hatchers--the AGF community is really something
Jon has two Hatchers: an all Mahogany Josie (SJ) and a Cedar/EIR Greta (OM). Both are outstanding instruments with some unique features between them: things like a French Polish top, EIR neck, etc. For my light, fleshy style of play, the Cedar worked exceptionally well and I decided to consider a Cedar soundboard in addition to Redwood. Jon’s guitar provided particularly useful comparandum because it was 13-fret Greta with a Dalbergia back and sides. I left that afternoon not only pleased with the quality of Hatcher guitars I had played and a new appreciation for what magic Mark can do when optimizing a build for fingerstyle, but also with a new guitar friend in Jon. My journey conclude with a visit to Mark’s workshop in New Hampshire in early November. I received the full tour, exploring his jigs, tools, machines, studio, and wood locker. I played several songs for Mark to give him a sense of my style and technique. We talked a lot about his approach to building and the philosophy that undergirds it. This will come as no surprise to those of you who follow his build threads, but Mark puts a lot of thought into everything he does. He refuses to comprise quality, executing even the minutest task with a deliberateness that testifies to his qualities as a luthier and human being. Shortcuts are out of the question. We also tapped numerous tops: mostly Redwood and Cedar, but some lovely Swiss Spruce. Even some back sets of Brazilian Rosewood and Purpleheart, though that of course was purely for fun and irrelevant to this project. In consultation with Mark I settled on this set of Western Red Cedar: It’s a notably light set and should make a dynamic top that responds well to my right hand. And with that, the build began this month! |
#20
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#21
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Your adventures are an object lesson in how time spent selling a guitar can lead back to buying another. Is the moral of the story that one should never sell a guitar, ever again?
I'll say this, Erithron, you are not a suitor to be brushed off lightly! But it's easy to see why. Your Greta is the very protrait of beauty! First, the Greta is a beautiful canvas to paint on. The sapwood inlays in the arm bevel and the rosette are so inspired and so gorgeous. All of Mark's appointments form a stunning, coherent whole. The red cedar you've chosen for the new top should fit the bill nicely. And all that inspired prose about GAS? I gave up long ago framing my relationship with it in terms of good vs. evil. Otherwise, I'd feel a lingering sense of guilt with every new acquisition. Why would I want to spoil the fun?
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____________________________________________ 1922 Martin 0-28 1933 Martin 0-17 1974 Alvarez/Yairi CY120 2010 Baranik Parlor 2013 Circa OM-18 2014 Claxton OM Traditional 2014 Blackbird Rider |
#22
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Kathy Wingert back in 2004. It has a German spruce top. I also own a used Wingert 00 in cedar and EIR that she built in 2001. Cedar Cocobolo should be a great combo - especially in Mark's capable hands.
Best, Jayne |
#23
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Quote:
Quote:
Truth be told, I think of GAS as an old friend. But narrative structures necessitated an antagonist... |
#24
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I've yet to play a Wingert, but the Dream Series she built on commission for Paul Heumiller/Dream Guitars have long captured my interested. |
#25
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#26
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Really nice rosette transplant by Dr. Hatcher! This is so much fun to follow along!!
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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!!) |
#27
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stunning, your work is amazing. Love to just sit and look and imagine how they sound, lol
HAPPY HOLIDAYS -OP |
#28
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Quote:
Mark
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Mark Hatcher www.hatcherguitars.com “"A conclusion is the place where you got tired of thinking". Steven Wright |
#29
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#30
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Great to have you visit and so neat to see the top transplant in progress.
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My YouTube Page: http://www.youtube.com/user/ukejon 2014 Pono N30 DC EIR/Spruce crossover 2009 Pono koa parlor (NAMM prototype) 2018 Maton EBG808TEC 2014 Hatcher Greta 13 fret cutaway in EIR/cedar 2017 Hatcher Josie fan fret mahogany 1973 Sigma GCR7 (OM model) rosewood and spruce 2014 Rainsong OM1000N2 ....and about 5 really nice tenor ukuleles at any given moment |