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Tassie #2 TAZ
CS-02 TAZ (2018)
Hi all ... After my mental/practical test-run with Bunnings-Frankentar (2017) surprised me by coming together and sounding like a guitar, it became clear that being more exact with the making of components had to be one of my next priorities. Jigs and props needed to be lifted a few notches. That required addressing multiple points at the same time. Sourcing suitable Tassie tone woods; building a dry-room (high humidity and severe hum/temp fluctuations in Tassie); and upgrading to a few precision tools. It also dawned on me that my diy book/dvd knowledge needed to improve. That meant more studying of Forum advice, vids and next-level books to learn and discover what it even means to build a responsive guitar. Perhaps finding someone who wouldn't mind sharing a few pointers with a mature-aged hobbyist in Oz. As player I used to be ignorant about what goes into creating these soundboxes. Now, I'm amazed by how intricately the quality of every part affects all other parts. Isn’t it great! Far from getting frustrated by my setbacks, turns out I'm developing the patience to lean into it. A local timber guy had a Tasmanian Leatherwood back & side set, and a leftover figured Huon Pine top. Promising start! For the neck I foraged some Tas Myrtle, with Blackwood/Ash centre strip; Rosette inlay/Head veneers are Tassie Blackheart Sassafras; Fingerboard, truss rod cover & bridge are Blackwood; Finished with Shellac. Brighter lighting brings out the medullary rays and figure in the Huon Pine top in the last picture. Last edited by Chris Shute; 08-05-2020 at 03:55 PM. |
#2
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Wow--that looks like a mighty fine #2!
The leatherwood looks amazing and a very cool fretboard as well. Thanks for sharing--how does it sound?
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#3
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Quote:
I have to admit, it was the stunning looks made me go for the leatherwood in the first place. How to deal with it came later. Leatherwood is renown for its bend qualities, a lot of bow makers (archery) use it. Very flexible when green, strong when dry. I'm very new at this, only just developing an ear to discern what I'm hearing. To me it sounds as if it supports a low, bass response. I assume those white, pearl-like inclusions contribute to mellowing the sound. Last edited by Chris Shute; 08-05-2020 at 04:35 PM. |
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Stunning Chris - love it. Beautiful work.
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Brucebubs 1972 - Takamine D-70 2014 - Alvarez ABT60 Baritone 2015 - Kittis RBJ-195 Jumbo 2012 - Dan Dubowski#61 2018 - Rickenbacker 4003 Fireglo 2020 - Gibson Custom Shop Historic 1957 SJ-200 2021 - Epiphone 'IBG' Hummingbird |
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Thanks Brucebubs - much appreciated; all I can say is - the stunning leatherwood made me do it ...
Last edited by Chris Shute; 08-05-2020 at 05:19 PM. |
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Wow, now that is interesting! Yea, even remarkable.
Nay, more, it is stunning. You guys do have some cool trees down under. SK |
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Thanks Steve, true - it's a stunning example of Tassie timber. Maybe it was a fluke that someone sawed Leatherwood that way? I happened to spot it at a sale, too nice to not buy it immediately
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... just do it ... Last edited by Chris Shute; 08-08-2020 at 02:56 AM. |
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If the wood is anything like the honey it will give a strong, balanced tone that is rich and smooth! |
#9
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It All Works Together To Produce A Beautiful Instrument--Congratulations, Chris, On A Job Well Done!
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Thanks Colin's, nice of you to say so. You're right about the honey, it's renown for its flavour and soothing properties. Hadn't come across a cut like this before, and was hoping to do it justice in looks and sound. I'm very happy with it
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... just do it ... |
#11
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Thanks SpruceTop, for your encouraging words. After FrankenTar, only a considerable deep dive to add realistic luthier insights & skills to my existing toolkit would do. Imo, that's one of AGF's greatest attributes >>> the enthusiasts who enjoy what they read/see and play, as well as creators who don't mind openly sharing some of their why's and wherefore's. That gave me a lot of motivation.
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... just do it ... |