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#16
02-01-2015, 04:24 PM
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Wow! This build really looks awesome Steve! I love it. I can't wait to see more.
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2010 Baranik JX Florentine Cutaway (Carpathian/Coco) 2012 Voyage Air VAOM-04 (Alp Spruce/Mah) 2012 Stonebridge G23CR-C (Ced/IRW) 2014 Charis SJ Florentine Cutaway(Sinker/Braz) 2015 Martin Custom OMDBH (Adi/Koa) 2017 Razo #20 Florentine Cutaway (German/Madagascar) 
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#17
02-01-2015, 04:43 PM
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Looking really good Steve!
Mark
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Mark Hatcher www.hatcherguitars.com “"A conclusion is the place where you got tired of thinking". Steven Wright
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#18
02-01-2015, 07:55 PM
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Very Beautiful guitar.I'm enjoying my EPS.I also would like to order a guitar. Haha.
All the Best, Fu
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#19
02-01-2015, 10:27 PM
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This one looks very promising, Steve.
As you know, I like flowers on my instruments -- and your Blackwood Rose guitar is going to be super classy.
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#20
02-01-2015, 11:51 PM
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Quote:
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Edwinson
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#21
02-01-2015, 11:53 PM
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Quote:
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Edwinson
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#22
02-02-2015, 12:15 AM
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Quote:
Ken's "Blackwood Rose" guitar will also have rose-theme carved tuner buttons and bridge pins by Bruce Petros; and there will be a beautiful black pearl/abalone rose on the fingerboard, around the neck/body area, done by Andy DePaule's Vietnam shop. The Rose theme of this guitar was the idea Ken had when he decided to commission this guitar. The roses are a commemoration of Ken's father, who was a passionate breeder and developer of rose varieties. I hope Ken will describe his Dad better than I can. This guitar is being made to honor the life and memory of Ken's Dad. The Rose theme is kind of a Hobbs family coat of arms. So for me, it's a sacred charge, to build a guitar that is more than just a music instrument, but is also symbolic of a treasured person's life and passion. Ken clearly has a lot of love and respect for his late father, and we are creating this guitar to carry that emotion. Isn't it amazing how much emotional content our guitars can hold? Isn't it amazing how guitars, by their very nature, become repositories and transmitters of our deep-soul experiences, our loves and tragedies, and our lore and stories? That's why guitars often become so important to the people who own and play them. We use them to express our human-ness. Ken and I have had an ongoing conversation via email and phone for some time, and we've found we share a lot of philosophical common ground. We talk about the deeper meanings of things. There's a lot of simpatico in the way we think about guitars, and many of life's verities. As this guitar moves toward completion, I think it will beautifully convey the elegant spirit of Ken's father, and when Ken plays it, I intend that it will have the voice of an angel as well.
__________________
Edwinson
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#23
02-02-2015, 12:29 AM
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The top is bearclaw Sitka from Alaska, and who was it a few posts back who said it looks like crushed velvet...? It really does. Wait til you see this top under finish! And it sounds bell-like as well.
 The top is braced with three different woods: The X and upper cross brace (and soundhole donut brace) are Carpathian spruce. The "lucky 7's" are Redwood; and the three fan braces are some very old Red Cedar. The bridge plate is a three-layer lam of carbon fiber, carbon fiber, and Wenge, only 5/64ths thick, but very rigid and strong.  I modified the upper cross brace to accommodate a slight redesign of the neck block, with a longer reverse-Spanish foot under the fingerboard extension. I also tweaked the design of the back bracing, but haven't photographed that yet. More tomorrow... Thanks for looking! 
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Edwinson
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#24
02-02-2015, 04:08 AM
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The Edwinson/Hobbs Blackwood Rose Project
Love watching your threads Steve! Bravo on this beautiful and very personal build commemorating Ken's father. Your a very special person for making Ken's vision a reality.
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#25
02-02-2015, 06:53 AM
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Very cool bracing design. Honest question: Why do some luthiers use kerfing with slotting towards the sides while some use it away from the sides?
__________________
1930 Martin OM-28 2017 LeGeyt Parlor 2021 LeGeyt CLM Red/Tree 2021 Kostal MDW German/Pernambuco
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#26
02-02-2015, 10:31 AM
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Quote:
1. They are a little more rigid than outside-kerfed; 2. I like the way they look inside the guitar; and 3. I made a table saw jig that allows me to make enough kerfed linings for six guitars in about an hour and a half.
__________________
Edwinson
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#27
02-02-2015, 01:42 PM
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I first became aware of Steve Sheriff, theEdwinson, shortly after I joined the AGF in September of 2012. And I became aware of him through his absence. A thread in the Custom Shop raised the question, “Where is Mr. Sheriff?” This caused me to look through some history and find a couple of build threads with Steve’s guitars, and I was captivated. But” where was the missing Mr. Sheriff”?
The mystery was solved a few months later when Steve posted in this thread wherein a really interesting crossover nylon-string was conceived and being born. But, the key phrase in this first post that I’m seeing from Steve version 3.0, the one that stuck in my memory was “My folks are elderly, and I'm here to help them in any way I can so they can stay independent and living in their own house.” This resonated with me. I had recently lost my father, and had been confronted with the choice to relocate (at a potentially disastrous impact to my income) and take care of aging parents, or try to do what I could, from afar. Here was a man that confronted with that choice had the courage to do something that I had not. So, I resonated to Steve’s artistic sensibilities and I resonated to his sense of family. And, I keenly feel the loss of my father. Dad was born in Minden, LA in 1926. He graduated from Minden High School, and then served in the Navy during World War II as a member of the Seabees. He attended and graduated from Louisiana Polytechnic Institute in Ruston, Louisiana. He obtained his Master's Degree from George Peabody College and the University of Houston and pursued additional post-graduate studies at McNeese State College and Louisiana State University. He served Calcasieu Parish as an educator for thirty-four years; as teacher, Principal and Supervisor. May 5, 1979 he was named professional of the year by the Louisiana Association of Retarded Citizens. Dad was a popular guest columnist for the Lake Charles American Press, writing about roses for eleven years. He was awarded the Bronze Honor Medal of the American Rose Society for 1997, and was recognized with the Outstanding Judge Award of the Gulf District of the American Rose Society in 2006. For all of his academic honors, I think Dad was most proud of being a Consulting Rosarian. When thinking of commissioning a guitar in his memory, there was never any doubt but that it would feature roses. When Steve offered his EPC “Jupiter” for sale on the AGF, I couldn’t pass it up. And, in the correspondence and phone calls about that guitar, my opinion that Steve was the right Luthier for the Memoriam to my Dad was solidified.
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#28
02-03-2015, 01:24 PM
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I'm taking a brief pause with the Blackwood Rose while I attend to some finish work on another guitar... But I do want to publicly express my appreciation to Ken for making this project possible. I'm sure that all other luthiers who participate in this forum often dream of that IDEAL, PERFECT CLIENT, who sometimes seems to be a mythical creature. I can assure you, though, that person does exist- and Ken is that guy.
He recently sent me an email, in which he spelled out his creed in dealing with other people. Here is what Ken said: "This is actually a philosophy that I have embraced for much of my career: Create a buffer between my employees and stress. Advise them that the only stresses they should endure are the ones that I impose upon them.  Overtly do everything I can to make them understand that I am aware that I succeed or fail based on their efforts. Give them credit for successes and take the blame for failures. Sit back and watch as my employees labor diligently to do anything they think I might want because they appreciate that I put them first, unilaterally. Create an environment where talented people can work, and then watch them excel..." ...And that's how we began this project. Ken gave me the outline of his intent with this guitar; and then he said, in essence: "Go and do what you do! I trust your instincts, and I'm sure we will have an excellent result..."
__________________
Edwinson
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#29
02-04-2015, 09:16 AM
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Quote:
I feel less attached to my more recent instruments -- although they are arguably "better" tools and have a higher market value. If I lost an Olson or a Petros, I'd be really upset -- but if lost my old Gibson or my not so perfect Martin, I would be devastated. Quote:
You and Ken seem off to a great start on this project and I look forward to seeing the happy ending.
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#30
02-04-2015, 08:18 PM
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For the Blackwood Rose, I am using a new bracing pattern for the back. African Blackwood is legendary for its extreme tonal vibrancy- very similar to Brazilian Rosewood in that respect. Naturally, I want that character to contribute to the tone of the guitar, by making the back "active", as opposed to "reflective".
The three cross-braces are lightweight but quite stiff Honduran Mahogany; The "asterisk" secondary braces are Adirondack Red Spruce. As you can see, the lower bout cross brace flies over the X-jointed spruce braces. I think this construction will allow the back to vibrate sympathetically with the top.  
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Edwinson
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