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#32
01-04-2014, 11:18 AM
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I'm using the "Guitarest", and you can buy it directly from the inventor:
http://www.deoromusic.com/deoromusic...r_Support.html I tried several brands and models (within brands), and the Guitarest provided (for me) the best support, and also proved to be the most flexible in regards to sitting-positions of different heights, including using it on-the-couch.
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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 Last edited by Larry Pattis; 06-17-2014 at 10:54 PM. 
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#33
01-10-2014, 02:54 PM
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It's fantastic when a great guitar player and a great guitar luthier "connect" in this manner...as Larry noted, we have so many wonderful luthiers from whom we can obtain marvelous guitars...but, it is really that "connection" that takes the player/maker to a different level...Larry's style of play "hits" me right where I like it...and, Simon is one of the most modest luthiers I've ever had the pleasure with whom to work...it truly was a very special and precious time when Larry and I met so he could play the guitar Simon had built for me...I'm almost as happy as Larry is that he is able to play the way he'd like to play again, and delighted that he and Simon are collaborating on some exceptional builds...I'm very fortunate to consider both my friends...
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Price is what you pay. Value is what you get. Warren Buffett
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#34
02-02-2014, 02:30 PM
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Okay, new photos, and wanting to keep this as a "build thread" about the guitars (not me)...if possible!
     
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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 Last edited by Larry Pattis; 02-03-2014 at 10:24 AM.
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#35
02-03-2014, 10:23 AM
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More photos...boxes are closed, and I am anticipating great things...
       
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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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#38
02-03-2014, 01:04 PM
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You will have two very beautiful Fay's after this one is completed. I once played your other Fay when you had it for sale. It was a really good looking guitar.
I see Simon is using the Traugott style reinforcement brace that runs along the length of the back. I'm starting to see this approach more and more these days. I wonder if Simon will let us know a little about what this brings to both the structure and the output of the instrument.
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Bill Gennaro "Accept your lot, whatever it may be, in ultimate humbleness. Accept in humbleness what you are, not as grounds for regret but as a living challenge."
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#40
02-03-2014, 01:34 PM
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s2y,
To my knowledge the cutaway bracing is unique. The typical approach is a straight brace that runs right into the side of the cutaway. I don't like to skimp on structure with the upper bout and this was my solution. The standard approach does work well tho' but for me this is a bit of added insurance. Regarding the back bracing, I first saw the "floating" brace on a Traugott a couple years back. I have been trying a number of things to add strength to the back so that it would strongly resist flattening caused by a rotating headblock (the forces that result in the need for a neck reset). Some folks also use x-braces on the back to achieve a similar effect. Others use carbon fiber buttressing of the headblock to the waist region -- this is probably the most stable structure but I strongly dislike the way this looks and the interior aesthetic is very important to me, especially now that soundports are so common. The floating brace was more in-line with what I wanted to do but there is no one "right way" to approach bracing. My take has been to leave the centerstrip (the long Ebony brace at the center) whole and uncut. I then have the ladder braces notched to go over the centerstrip and then add a floating brace on top. I then cap the ladder braces to regain the original strength in the same way the x-brace is capped. This results in a very stable structure but I also spend significantly more time in order to build this way. In the end, it is hard to say whether these efforts are worth it or not. My gut instinct is that the resulting structure is much stronger than a traditionally braced guitar and my hope is that this will have a profound effect on resisting deformation from string tension - resulting in a much more stable neck angle over time. Tonally, I certainly haven't noticed any detriments to the tone but it is hard to tell whether any tonal benefits can be attributed specifically to these changes. Last edited by Simon Fay; 02-03-2014 at 01:55 PM.
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#41
02-03-2014, 02:03 PM
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Quote:
Actually, Bill, this is a double-build thread...I will have three exceptional guitars from Simon when these two are completed! We'll see what I can manage to afford at that point, but I know that the 2011 Fay is an exceptional sounding guitar, and is near-perfection for my ergonomic needs. The two new guitars may be incrementally closer-to-perfect for me...we'll see! I'm hoping to hang onto all three Fay guitars.
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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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#42
02-03-2014, 03:02 PM
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Those curved tone bars are sweet! It crossed my mind to do that at one point, too, but never got around to it. Anybody know if there is another builder besides Fay doing this? It seems to make a lot of sense.
Brad
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#43
02-03-2014, 03:23 PM
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Quote:
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#44
02-03-2014, 04:04 PM
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There are very few builders that incorporate a brace that directly encloses the bridge plate, although it certainly isn't unique to my guitars (I believe Petros and I seem to recall that Larrivee does as well but I'm not certain). Having a brace right behind the bridge plate requires a different approach to the lower bout bracing than is typical for the traditional Martin bracing pattern or you could easily end up over bracing the lower bout. The curved brace is a fairly recent addition for me and one that stems from an attempt to minimize unnecessary weight in that area. It is a fairly straight-line computation in terms of achieving a goal -- it wouldn't be the type of thing I would ever attribute to one individual as being the progenitor.
In lutherie, curved braces actually aren't all that unusual. Kasha bracing often incorporates curved bracing and Australian builder, Trevor Gore, has a unique bracing design that incorporates curves (see link below). Trevor's site is very interesting and well worth your time. http://www.goreguitars.com.au/main/p...e_bracing.html In the broader scope of woodworking, there is very little from an artistic or structural standpoint that hasn't already been done.
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#45
02-03-2014, 04:05 PM
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Quote:
Will they all be largely different (tonally) from one another to fill separate needs, or will they all be voiced in a semi-similar fashion with slightly different nuances to the tone. What's your game plan? Bill
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Bill Gennaro "Accept your lot, whatever it may be, in ultimate humbleness. Accept in humbleness what you are, not as grounds for regret but as a living challenge."
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