#31
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#32
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#33
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#34
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#35
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Part 5- delivery.
So here’s the result of this informative experiment. The looks are strikingly elegant. The craftsmanship is top notch and every detail speaks of precision and control. I particularly love the cocobolo binding, as it provides a kind of visual coherence that characterizes the whole aesthetics: you notice the guitar as a single element first, with measured simplicity. Then, as you look closer (I did even run a magnifying glass on some parts!) the details start jumping at you, but always coherent, almost understated, seamlessly connected like a bespoke garment. Definitely, leaving free rein to its creator paid off. Ergonomically it feels like a glove. It’s light, balanced, and it just disappears in my lap. The bevel is a delicate touch, just hinted, but undoubtedly effective. The neck feels exactly as intended, fitting my left hand in every position. The palming surface is always maximized, making the experience effortless. I’m not sure if a neck design like this would fit everybody, but I would recommend that, if you’re considering a bespoke instrument, you spend some time observing how your hand connects with the neck across its length, how are the stresses and strains distributed when you play, and then try to figure out what neck shape would minimize those. It really makes a difference on fatigue, even if your hands are younger and stronger than mine. And less fatigue means more precise playing, which improves both your delivery and your experience. It’s working marvels for me. The sound is where I’m thrown off my socks. If you followed my account, you might remember that I spelled out a bunch of different specifications. I tried to imagine that sound in my mind and put it into words. You all know how difficult that is: we miss a shared vocabulary for those things -as some of you pointed out- and a qualifier has different meanings to different people. Rosie and I spent time going over it, and she took the time to follow up on various aspects. To be honest with you, I don’t know what I was expecting. You make a wish list and in the back of your mind you don’t really expect for all of those to exactly show up in the finished work. When I commissioned my previous guitars, the idea of what I wanted wasn’t as nearly formed and defined as it was in this instance: I did really put a lot of systematic effort in defining what I wanted. As I mentioned, my experience with Jason Kostal was more like “I get this beast, and then I figure it out”. I’m still in that exploratory process, know I will always be. And I will never stop praising both Jason’s stellar craftsmanship and the stellar instrument he built for me. Here the situation is different. This instrument I first imagined and then commissioned. It’s my own “signature” guitar - it does what I want and sounds exactly the way I want. This is the real surprise here: it’s checking EVERY box! I don’t know what I was expecting, but I wasn’t expecting this. The bold sustain, the fullness of the midrange spectrum, the flourishing overtones which always stay in the background while being clearly audible. The sensitive response to plucking in different positions. The dynamic range and the responsiveness. The quick attack. The clarity. The controlled bass… it’s all there, all beautifully and BOLDLY delivered. I’ve been with the guitar for a few days now: at first I was pleased, and then I started realizing, progressively, the extent of Rosie’s work. Now I’m overwhelmed. I can only imagine how it will evolve once it starts settling in… Rosie Heydenrych proved to me what a custom build is. She was able to read my mind and make a real thing out of it. That she could both listen to me and execute on it so seamlessly, delivering a world class instrument, speaks volumes about the caliber of her work. I am grateful. I am humbled and honored. And so happy! P.S. You will be spared a sound sample from myself. I have much better: here it is in the hands of none other than Gordon Giltrap! https://youtu.be/xK1VL6WaJy0 |
#36
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Congratulations on what is a very beautiful guitar indeed. There is nothing like a guitar that just fits like a glove. The guitar disappears and all that matters is what you're playing. May you have a lifetime of joy from it.
__________________
Martin |
#37
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Yes, Many congratulations on what sounds like a super instrument: You can't be criticised for not being engaged with the process!
I've been aware of Rosie's work for many years since she's been a regular at an annual guitar get-together that I attend. It's been very impressive to witness her work progress and develop across those years; her instruments have improved year after year. That sycamore neck is fantastic. I remember vividly when I get my first guitar from Jason Kostal. Like so many of us, I had elevated the imminent arrival to completely unrealistic proportions: Choirs of angels would descend upon opening the case, and roses then fall in a deluge from Heaven as I picked those first notes etc. These days I'm content to let a new instrument speak for itself and am happy if it sits somewhere in the same sonic space as those from the many, many great luthiers that abound today. Very glad you're so happy with it. Cheers, Steve |
#38
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My Turnstone arrived in Brisbane today. I concur with everything said in this thread, I’ll post a threat later. Too busy playing the guitar.
__________________
Turnstone, Wandering Boy, Santa Cruz and a ES335. |
#39
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I’m so happy for you! I look forward to hearing about yours! |
#40
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My encounter with a genius: an account of my build with Turnstone Guitar.
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So true. It is fun and rewarding on top of it! And -gosh- Rosie’s work for me was incredibly beyond expectations. Last edited by Flat5; 03-17-2023 at 07:41 AM. |
#41
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Thank you. This one makes me disappear, for the time being, but it might just be the honeymoon phase… |
#42
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