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#46
12-29-2010, 08:21 AM
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Pretty guitar. I love the woods but bling (abalone) is a turn-off for me. Design and wood inlay (e.g., early Lowden rosette, marquetry, wood bindings, etc) really get me going. My wife knows this.
hans
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1971 Papazian (swiss spruce/braz RW) 1987 Lowden L32p (sitka/ind RW) 1992 Froggy Bottom F (19th cent. german spruce/koa) 2000 Froggy Bottom H12c (adir/ind RW) 2016 Froggy Bottom K mod (adir/madrose; my son's) 2010 Voyage-Air VAOM-2C http://www.soundclick.com/hanstunes (recorded on Froggy H12c) 
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#48
12-29-2010, 02:41 PM
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#49
12-29-2010, 05:55 PM
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I have made over 60 Schoenberg Guitars and they range from style 18 through style 45. Just 3 are 45, and one 42, which is close to 45 in complexity. The average is probably between 18 and 28. My personal favorite is style 30 (2 examples), as Eric refers to it.
Outside of the Martin style range, my own work ranges from simpler than any Martin designation I am familiar with, my WRX series (see a nearby Christmas thread), to what I call Terry Ruby's Fancy which is my idea of up-scale. All borders were abalone purfled, but with narrower lines than any Martin. More subtle and MUCH harder to do. That guitar also used Rodger's LaCote tuners, a $ridiculous up-charge due to installation considerations as well as being the most expensive tuners I've encountered. My personal preference in my own work can be seen on any standard guitar I make. My standard binding/tuner/inlay/general trim package hasn't changed in many years, and is what I think a guitar should be. But every now and again I like to show off, take silly risks, and try to figure out why these extra-fancy guitars seem to actually come out at the top of the pile. Which they do, for imperfectly known reasons. If I did this on every guitar, however, it would shorten my life as I find it relatively stressful.
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#51
01-11-2011, 07:55 PM
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It had been a couple of year since I had done full Abalone purfling on a guitar, but I have had another such come down the turnpike right on the heels of the 45 featured in this thread. Not surprisingly, it's a little easier to do it again so soon! This guitar is not a Martin clone, however, and is just an embellished version of my normal schtick where I have replaced most of the Curly Maple line I normally use with Abalone, and bound it with Snakewood instead of Ivoroid. If you're not completely bored to tears (I'm not!) you might enjoy a gander at this one, I thought. Again, it's plain Jane quarter-sawn Brazilian Rosewood. I thought the mitered corners were extremely challenging, and they came out quite acceptably, if not quite perfect. This is Green Heart, by the way, and the shape is a mini-Dread.
It is a commissioned piece but I am building a similar but simpler guitar alongside it in Cambodian Rosewood/Adirondack which I will offer when it's done. It is the one I used as a demonstration piece in the NCAL meeting last Sunday where about 80 luthiers (and would be luthiers) learned how I assemble a box w/o a mold.  
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#52
01-11-2011, 07:57 PM
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AAaaaarrrggghhhh. (killing me with the beauty)
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Larry Pattis on Spotify and Pandora LarryPattis.com American Guitar Masters 100 Greatest Acoustic Guitarists Steel-string guitars by Rebecca Urlacher and Simon Fay Classical guitars by Anders Sterner
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#53
01-12-2011, 09:56 AM
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This BR guitar was unpurfled (?!) at the meeting, but is some amazing wood. The Cambodian is gonna be a really nice guitar as well - after seeing the assembly process, I'll need the closure of seeing it finished ( That means post some pics please, Bruce - ) Tad
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More than a few Santa Cruz’s, a few Sexauers, a Patterson, a Larrivee, a Cumpiano, and a Klepper!!
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#54
01-12-2011, 12:53 PM
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I have been putting in hours, as you can see Tad! This Rosewood in much deeper (more beautiful) looking with finish, showing red/brown with black ink lines. I will clean the fingerprints off the top before finishing.
  Forgive me for tagging this stuff onto the 45 thread, I'm just not ready for the whole new extravaganza which a build thread is.
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#56
02-18-2011, 10:29 AM
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I had forgotten that I posted pics of these guitars in this thread. I strung up the Cambodian Sister yesterday right in front of Larry Clyman while he was asking me about the difference between a new guitar and a day old or week old guitar. My experience is the the difference is greatly exaggerated, but I only have my own work to relate to. Once again the guitar seems so good to me from the first note that I don't really understand what people are talking about when say a new guitar needs to be broken it. Perhaps Larry will comment. I get to some new pictures in a day or two, but right now I am very much about getting ready for the Big Gig at Schoenberg's tonight.
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#57
02-18-2011, 10:56 AM
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The initial stringing up and sound of this new guitar was wholly unremarkable..! But let me put this in context... I've been playing extraordinary guitars for 3 days now...including a number of Bruce's guitars... My frame of reference of a superior tone is pretty strongly established as it's all I've been hearing... So when Bruce strummed the first few chords, played some riffs and then handed the guitar to me to do the same, my reaction was...yeah...sounds about right.... Just another killer sounding guitar... And later in the day as he or I or the occasional visitor to his shop pulled it out and played it some more, I do believe it sounded even better... Here's a decent analogy.. Imagine going to a prestigious international wine tasting competition, where you get to take a few sips from bottles of the top 10 or so finalists.. Every single swallow is wonderful...and by the 4th or 5th you're just sort of getting drunk...but even though you're a bit tipsy, you still are very aware of how fabulous the wine is... So I don't know if this brand new mini dread of Bruce's is going to be the winner of this competition...but it immediately elbowed it's way into the finals...! I hope that makes sense... LC
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