Spohn OM Build (short scale - long post) - Final Images - 11.28.23 post

[Deliberate1]

I am happy to finally count myself among the expectant owners and not just the readers of this sub-forum. Even now, my guitar is taking shape in the workshop of Max Spohn, in the Bavarian town of Rothenburg, Germany. Should you wish to skip the broccoli and eat dessert, feel free to scroll down to BUILD.

BACK STORY: This is my first build. While it may seem a bit grim, at 67, it may be my only. A small step for some here, but after only four years with a guitar in my lap, a giant leap for me. As a lifelong classical/jazz clarinetist and saxophonist, I first picked up a guitar in 2019 - my “Pandemic Pal.” I admit, it was never on my radar. I figured my retirement instrument would be a piano so I could play Gershwin. Funny how life unfolds unpredictably. Yet again.

I blame it on Sunday morning jam sessions at a Stonington, Maine trap shop where lobstermen communed. You cannot fish on Sunday’s, even if you still wake hours before dawn. Accustomed to steaming out of harbor at 4am to check traps, these mariners somehow had to keep their hands lawfully occupied early on the Lord’s day (well, one of them). So they’d get together and play tunes at Stevie Robbins’ trap shop on Main St., whilst perched on coils of rope, or overturned bait buckets, lobster traps, or whatever else one’s tooshie could settle onto. A wide open door policy was honored. If you had a song in you, you were welcome to play or sing it. And folks from all over the world did just that. Had Norman Rockwell strolled by the shop window early one Sunday morn, he’d have deployed his sketch pad to preserve that precious scene of Americana at its richest. Other artists have done just that. As Maine humorist Tim Sample is fond of saying, “I’m famous amongst them that’s heard of me.” As was this local musical institution known as “The Church of the Morning After,” with the faithful gathering at Stevie’s Robbins’ trap shop.

At a Christmas party several years ago, two revelers told me about the gathering. And they invited me to check it out - with my clarinet, as there was no guitar in my life at that time. I was all question marks when I showed up one frosty January morning at Stevie’s shop. There were acoustic guitars, electric bass, mandolins, a small drum set, an accordion, fiddle, harmonicas, and yes, now, a clarinet. I looked around the workshop while easing myself down onto a plastic bait pail next to the band saw (apropos), with the smug confidence that I would be the finest clarinetist in that group. It went well. The “parishioners” loved the introduction of a new sound. And I played songs that had never before passed through my lips. My work in various jazz ensembles over the years has given me an ear that can pick up or accompany most any tune, whether by the Carter Family, or Tammy Wynette or Dylan or the Grateful Dead. I felt I was plowing a new road for the world of clarinetists. Though with no one behind me.

Unexpectedly, some months into this weekly music-making, lyrics started percolating to the surface. So I wrote them down. And they turned into songs. I had never done that before. But I knew well enough that singing with a clarinet in your mouth is a messy affair. It also aggravates the horn, which has been with me since I was 13, and deserves deference. Enter the guitar. That was February, 2019. We have been inseparable since.

My first guitar, a Larrivee 000, got me going. I have acquired other wonderful guitars since then. I knew what to look for by spending too much time here. Honestly, I feel like the guy who discovers the pleasures of intimacy late in life, and scrambles to make up for lost time. But I have chosen well and have been exceedingly lucky. My rotation now includes a Merrill OM18 (daddy’s favorite child) for that dry, vintage sound; a Froggy Bottom H12 which sounds like a lush, musical rain forest; a Fairbanks SJ for that Gibson touch, and a Webber 00, just for fun. I love them all for different reasons. And each scratches a different musical itch.

But, none of my lovelies speak with a “modern” voice. At least as I define it - guitars in the Somogyi, et al, universe. And I wanted one of those, and one made for me. After sampling all kinds of media for months, and playing what I could get my hands on, I asked Max Spohn to build a guitar for me.

BUILD: Max had me at the rosette. I engage with an instrument first with my eyes, and then with my ears. Max has the hands of a luthier and the eyes of a draftsman. The artists and designers that inspired him were part of my education in aesthetics, as well. So, we share a common visual language. After tearing myself away from his elegant and minimalistic designs, I went online only to discover videos of very fine guitarists playing and extolling the virtues of Max’s guitars. If I had to pick the performance that most spoke to me it would be this one: https://www.youtube.com/watch?v=hDbC...l=DustinFurlow. I found the voice of this guitar beguiling. And, Dustin’s fingers totally wicked scary.

When I reached out to Max early last fall to discuss a build, I was out of my element. Not only had I never played one of his guitars, I had never held or even seen one in the fiber. Cardinal Rule 1 broken. I tried not to contemplate what a leap of faith this all was. But I need not have worried. From the moment we connected, Max has posed the right questions, presented me with all possible options, and has kept me apprised of all pre-build details. He has, in every respect, made this my build, not just my instrument.

Ultimately, I chose his OM design, with a Florentine cutaway. To make the guitar as comfy to play as possible, for 67 year old gawmy fingers, I opted for a 24.75” scale length, 12 fret with extension and Manzer wedge. Max is also modifying the edge of the fretboard to make it thumb-wrap over friendly. Throughout the process, Max has consulted with me on every detail, always suggesting, never dictating. But he made it plain that because his guitars all share visual DNA, any elements that deviate from that “look” were not entertained. I honor that. Indeed, I respect any craftsperson whose work is instantly identifiable as theirs. That is called artistic integrity and brand-building.

For woods, I chose a stunning set of highly figured European Maple (see image) topped by European Spruce. Max has a relationship with a nearby Swiss sawmill and is able to select his locally sourced woods at their facility. This access allows him to choose boards that sound just right for each guitar he builds. But he never stops looking, or refining. In fact, while we had the sides selected some months ago, Max came across a different set which he thought was a better match for the back. He was right. This is typical of my experience working with Max.

His rosette inlays are remarkable for their beauty and diverse materials, and are individually designed for each guitar. He has used stone and bone and even lichen. We decided to use mother of pearl from some razor clams that he found (see image). It will be a handsome, and subtle, detail in a rosette that is already unique for the way it integrates with the perfling (see below sibling sample). The fret board, bridge assembly and top binding will be in wenge, sans splinters. Given the presence of the rosette and modified soundhole (made larger for the design), and wanting to preserve a minimalistic look, I opted for no additional garnish on the fretboard or headstock, which will be plated by the same figured maple as the back and sides. Neck of mahogany.

But all of this build fodder is no substitute for actually laying hands on a builder’s guitar. And I did not have that opportunity, and did not expect to, as we are an ocean apart. So, it came as an extraordinary surprise when Max contacted me several weeks ago with a proposal. As a result of very unique circumstances, he was in a position to lend me one of his builds - a beautiful 00. Knowing that I had never even held one of his guitars, Max extended this remarkable courtesy so that I could live with it and fine tune, if you will, the details of our build. Again, the sign of a builder who is totally invested in his client’s satisfaction. I have played the 00 for hours. It is a remarkable guitar. When I hold it, the guitar feels like it was not so much assembled from many pieces, but fashioned from one element. It is that cohesive. Living with it for the past several weeks has cemented my decision on the OM with the short scale, and with tonal woods that are more fundamental and less resonant. And with a 16” radius rather than the 00’s 20”. While his volute design is elegant, I discovered it is a bit restricting for me. Not a problem. Max has already offered an alternative design. That is what playing a guitar, and not just looking at it, reveals. And it tells you a lot about the builder as well.

So, that is where we are. A glued back, and sides in the process of contorting. Stay tuned for more images and less text….


David

[mountainguitar]

David- I love this!! Every bit of it!!! I remember in the past you talking about being a jazz clarinetist and I resonate deeply with your love of guitars later in life. This post makes me want to go to Maine with a guitar and sit on a bait bucket on a Sunday morning....

And congratulations on this commission!! This rosette is gorgeous! It sounds wonderful and it's great that you are able to use your ear and knowledge of tone to give Max the input he needs to build you a guitar that fits you. How special!

I look forward to pictures (and more stories!)

beth

[Deliberate1]

Originally Posted by mountainguitar

I look forward to pictures (and more stories!)

beth

Beth, thanks so much for the kind words. We clarinetists always appreciate kindness, because in high school while guitarists were out on dates, we clarinetists were in our bedrooms listening to Wagner. With the lights out.

And for you, this brief sample of "Church," as it was some years ago - BC (before clarinet). Stevie Robbins is the big fellow in the foreground. The high and lonesome voice you hear is deployed by Stanley Joyce, the banjo player. He was the trash collector, as I understand it, on Deer Isle. But in his younger years, he travelled the country playing music in places that my mother probably (definitely) would not let me frequent. When he talked, and sang, I listened. Walking, playing history, that one.

"Church" still meets at 7am on Sundays, though no longer, sadly, at Stevie's shop since his passing a few years back. Winter "services" are at the Stonington Odd Fellows Hall. And in the summer, on the green in Deer Isle. You know the one - on Main St., between the post office parking lot and Jimmy Eaton's shop. You are most welcome - though it is now a BYOB (bucket) affair.

Thanks again.
David

https://www.youtube.com/watch?v=3eV9...enecarlfeldman

[BrunoBlack]

Great introduction, interesting and enjoyable. Sounds like you’re off to a nice start with a thoughtful builder. It should be a blast. And at 67, you’re at a terrific place in your life to enjoy the process and outcome. I’ll look for regular updates!

[KevinH]

A very nice read David. I've admired Max's work from afar for a few years now and am very much looking forward to following this thread. It looks to be a grand guitar!

[TBman]

I was eyeing his guitars, great choice, congrats!

[mountainguitar]

Very cool clip from Deer Island! It's wonderful that folks are doing that! And I started on clarinet as a 9 year old, played bass clarinet through Jr High and fell in love with the French horn so played that through high school and college. I do have a soft spot for clarinetists and players of wind instruments...

And I didn't realize how wonderful playing a good guitar can be. It's alive in a way that a brass instrument isn't. And you are working with Max to create this great guitar that will be alive in a special way!

beth

[sinistral]

I just want to say that I love your eloquent prose, David. It sounds like you and Max have connected creatively, which means that that guitar will be even more special.

[sinistral]

This popped up on Instagram and it reminded me of this thread:

https://www.instagram.com/reel/CtWaO...c4MmM1YmI2Ng==

How’s the build coming?

[Deliberate1]

Originally Posted by sinistral

This popped up on Instagram and it reminded me of this thread:

https://www.instagram.com/reel/CtWaO...c4MmM1YmI2Ng==

How’s the build coming?

Perfect timing, Lefty. Max recently sent me these two images below.

One shows the side lamination, which consists (exterior to inside), of a maple veneer, balsa core, flax material and a black veered material which I guess is the inside of the box. Will have to clarify.

The second image demonstrates Max's lamination technique, which features a vacuum bag. As I understand it, that method reduces the number of clamps while preserving uniformity of pressure. But it surely is not anywhere near as photogenic as the ususal images that we see at this point in the build. Sexy pics to follow.

Lefty, following your Aboudib build with great interest and pleasure.

David

[KevinH]

Originally Posted by Deliberate1

...But it surely is not anywhere near as photogenic as the ususal images that we see at this point in the build. Sexy pics to follow...

Keep them in suspense. Best not to reveal too much this early in the date

That's an interesting method for side construction.

[sinistral]

That lamination process reminds me of the way a friend of mine used to make avant-garde, carbon fiber furniture (and other things) back in the day. He adapted the vacuum process from equipment his brothers used to make some of the first carbon fiber bicycles. i bet those sides are light and stiff.

[Guitars44me]

Very interesting back story. This will be fun to watch come tomorrow, but not as much fun as you will have playing it!!!

Clarinet is SUCH a fantastic instrument. I always figured it was partly because it is made of WOOD.

Congratulations and ENJOY

Paul

[mountainguitar]

Hi David-

Thanks for the update! There's a guitar in that bag thing.... wow! It makes for an interesting reveal when the time comes. Very cool!

I'm interested to see what's under the bag- how long does it stay vacuum sealed?

beth

[Deliberate1]

Originally Posted by Guitars44me

Clarinet is SUCH a fantastic instrument. I always figured it was partly because it is made of WOOD.
Paul

Paul, obliged for the clarinet love. You are spot on. The sound that a piece of wood makes as a column of air passes through it, at alternating lengths, is likely as old (if not older) than the sound made by box with plucked strings attached. But I believe that the voice of a clarinet is the voice of wood.

At 67, the Buffet R13 clarinet I got when I was 13 remains my only "misery stick." I play only the Selmer Mark VI alto I got two years later, and the 1955 Martin (yep) Committee tenor sax I bought from the family of my only music teacher when he passed away in 1980. Conversely, I got my first guitar in February, 2019, and six more since then (with two now in other hands), and the Spohn on the way. And now you know why I dare not visit the clarinet or sax forums....

My introduction to a chordal insturment, like the guitar, after a lifetime of melodic instruments has been one of the great musical joys of my life. Like going from 2D to 3D chess. But accepting that I do not know the guitar anywhere near as well as my horns (which are part of me), has been a tough adjustment. Like, back to the third grade when I first picked up a clarinet.

David