A couple of years ago I reconnected with my college friend and luthier David Cavins, who is based in Columbia, Missouri. David builds beautiful guitars, and although I'm pretty much flush with 6-string acoustics, his tenor guitars piqued my interest. In particular, I wanted to expand my sonic palette while also challenge myself with new tunings beyond 6-string guitar, banjo, and the other instruments I've been fortunate to find across the years. I have a mandolin and although I'm a proficient rhythm player, playing breaks never quite clicked for me. I figured a tenor guitar would give me a comfortable way (as a guitar player) to get more familiar with mandolin-family tunings, while also adding some diversity to our weekly jams (so many guitar and banjo players!). So at the end of last year David started designing a tenor guitar for me.
I previously have posted about the design and build process (see the series of six posts here: 1, 2, 3, 4, 5, and 6), which includes lots of pictures that David send me along the way. Essentially, we each blogged the process in parallel from our perspectives. To briefly review, David's tenors are inspired by a Gibson TG-0 rather than the Martin 0-18T popularized by the Kingston Trio. My guitar is 13" across the lower bout and 3.688" in depth at the endpin, with a scale length of 22.875" and nut width of 1.25". We settled on flamed sugar maple for the back, sides, and neck, with an adirondack spruce top. The binding and other decorative bits are primarily hormigo, and the fretboard and bridge are Honduran rosewood. This guitar has a couple of other unique features, including two subtle "wave " inlays around the perimeter of the back, the strikingly brilliant sunburst shading under the French polished finish, and David's newly-designed adjustable neck joint (see more details about the neck on David's site at the bottom of this page and mid-way down this page).
I received the tenor from David last week and am absolutely blown away by its beauty, and more importantly, by the tone of this instrument. Describing a guitar's tonal qualities is always difficult, especially when I haven't actually played any other tenors and thus don't have a reference point. So I'll just simply say that I can't imagine a tenor sounding any better than this one! At some point I'll try to get around to posting some sound clips, but for now you'll just have to enjoy these pictures.
A couple things I've learned from this process:
1) Working with a luthier on a custom built guitar is a very fun and satisfying experience.
2) David is an extremely talented craftsman, artist, and musician, in addition to being just about the nicest guy you'll ever meet (although I've know this last point since we first met in 1994). If you're looking for a tenor guitar, or auditorium, orchestra, or concert-sized guitar, working with David can't be beat. The balance of tradition, innovation, and responsible choices of sustainable materials in his instruments hits the spot for me, and the design of my tenor guitar is executed into a beautiful sounding, looking, and feeling instrument.
David just posted pictures of the sunburst finish he applied to the tenor guitar; check them out on his blog here. Whoa nelly, that's a fine looking guitar!
Although it's not shown in the pictures below, the bridge has been glued down, and next it will be time for the hardware and set up. It's getting close!
Prelude, part 1 - When I was in college in the mid-90s, all I wanted was a Rickenbacker electric guitar. While most 20-year old guys have pin-ups of women in bikinis in their room, I had a picture of a blonde Rickenbacker 381 on my wall. By the late-90s I was fortunate to be able to get a Rickenbacker 360 (see here), but gradually moved away from playing electric guitar and found the 1-5/8" nut width to be too small, so it moved on to a new home. However, as a fan of the Beatles, the Byrds, Tom Petty, Susanna Hoffs, and the Who, I've always had a soft spot for Rickenbackers.
Prelude, part 2 - I love mahogany guitars; my main players the last few years have been a Collings D1ASB and some various Martin D-18s (see here, here, and here). I tend to prefer mahogany guitars to rosewood, but over the last few months, the latest bout of GAS had me thinking about rosewood guitars as a way of rounding out my tonal palette. Something with a bit more bottom end than my other guitars, without getting tubby (like some rosewood Martins, at least to my ear). Given my taste for nice Martins and boutique instruments, I spent way too much time browsing at the usual rosewood suspects online: various flavors of new and vintage Martin D-28s, Collings D2Hs, Santa Cruz D/PWs and Tony Rice models, and similar offerings from Huss & Dalton and Dana Bourgeois. Sadly there aren't many good guitar shops in my neck of the woods, so I had resigned myself to waiting for the next time we took a roadtrip or taking a flyer on an online puchase.
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Today was the semi-annual Philadelphia guitar show. I usually go to a least one of shows each year, but until last year I had never purchased anything there. This year there were some particular interesting guitars, including a 1947 D-28 (with a refinished back; $8.5k), a 1961 D-21 (~$6k), a 1947 Gibson J-50 ($6.5k), a 1950 J-50 (refinished back; could have been purchased for under $4k), a 1995 custom Martin HD-28S (i.e., 12-fret; didn't ask, but it should have been in the $2-2.5k range), a Gibson Jackson Browne model (i.e., a Roy Smeck-style guitar; $4.1k), a Collings 0002HBaaSB (or some such acronym; a 12-fret 000 with a sunburst sitka top and nice Brazilian rosewood back and sides; $6.8k), a 1953 Martin D-18 (I lusted for this same guitar last time I was at the show, but at $10k it's out of reach and not that much nicer than my '56 D-18), and a Weissenborn Style 4 Hawaiian guitar from the late-1920s ($4k). Other than the Martin HD-28S, most of these are out of my league at this point, so after wandering around the show for a couple of hours I decided to make one more loop around the hall before leaving.
I usually don't pay much attention to the booths that are primarily stocked with electric guitars, but there is usually a vender that specializes in Rickenbackers at the show, and given my affinity for them, I usually at least walk by. I was about to head home when I saw one of my guitar unicorns (i.e., super-cool, but pretty much don't exist): a Rickenbacker acoustic guitar. WTF? Rickenbacker makes acoustic guitars?
I've vaguely known about these Rickenbacker acoustics for years, but have never seen one in the flesh. And I always figured that (a) they wouldn't sound that good (at least compared to the Martins and Collings that this guitar snob tends to prefer), and (b) that the necks would be too small (they are spec-ed with a 1-5/8" neck like their electric siblings). But how often do you get the chance to play a Rickenbacker acoustic guitar? So I asked if I could take a strum...
It's a Rickenbacker 730S Shiloh, dating from November 2000; a dreadnought with a sitka spruce top and Indian rosewood back/sides, a maple and walnut laminated neck with a rosewood fretboard bound in white and sporting the classic pearloid "shark fin" inlays (very similar, in fact, to my departed 360), with gold Schaller tuners on the traditional Rick-shaped headstock, a rosewood bridge, and white binding with a classy black/white checkered purfling around the body and soundhole. It just oozes with cool.
Holy hell! This thing is an absolute cannon! But the floor of guitar show is always uber-loud thanks to all the wankers cranking up amps (yes, I did hear more than one asshat playing the intro to Stairway today) and I couldn't get a good sense of the tone of the guitar other than sensing that it didn't suck. So I offer to leave my drivers license with the seller so he'll let me take the guitar to a back room that is tucked away adjacent to the men's restroom, where at least it's a bit quieter.
First, the neck doesn't feel tiny in my hands. I prefer 1-3/4" necks usually, and can live with some 1-11/16" necks like the one on my '56 D-18. But I can't believe that I'm finding this 1-5/8" neck to be very comfortable. How can that be? My hand doesn't deceive; the Rickenbacker actually measures at 45mm, which is a smidge over 1-3/4" (yes, this geek carries a small ruler, along with a kit of flat- and fingerpicks, capos, a bar for playing lap steel, and a tuner, when going to the guitar show). So much for the specs on the Rickenbacker page which shows a 1-5/8" neck (the specs also show a 25" in scale, but this guitar measures 25-5/16"). The frets are low and flat, like (surprise) an electric guitar, which takes a bit of adjustment.
I haven't touched an electric guitar in years, but recently have become interested in learning about acoustic amplification. The goals are to be able to:
1) ...plug in when getting on stage for impromtu sets at bluegrass festivals. I'm tired of having to rely on sound guys dialing-in the instrument microphones. They never seem to get the signal hot enough (which is understandable, given the issues with feedback and that they don't have much time to get things set up between sets).
2) ...have a second channel/option when I'm playing out with our band(s). Typically I've used an instrument microphone (Shure SM81) which has worked fine, but having an additional option for more volume while reducing feedback would be nice.
3) ...mess around with this stuff at home, both to (a) get to know the equipment and dial the sound in before heading out to play live, but also to (b) reinforce the sound a bit at jams. So in addition to getting a guitar pickup, I'll need a small acoustic amp.
After spending way too much time researching online, here's what I ended up getting:
I decided the best option was a soundhole pickup so I could potentially swap it between several guitars without too much fuss, and ended up selecting a Fishman Blackstack magnetic pickup ($250). These are supposedly a modern take on the classic Sunrise pickup that some of my favorite artists play (e.g., Lyle Lovett, Richard Thompson), and what I like about the Blackstack is that it can be disconnected from its cable and moved between guitars for different mounting strategies with minimal fuss. The Blackstack comes with a 10' cable that can be run out of the soundhole and connected to a standard guitar cable for a "temporary" installation. But Fishman also sells a 22" cable and endpin jack for a more permanent installation ($40). I installed this shorter cable/jack in my Collings CJ, which previously had a pickup so the endpin was already drilled for a jack. When I want to plug in a different guitar, I'll disconnect the Blackstack from the cable in the CJ (which takes a couple of minutes with nimble fingers and a small screwdriver), connect it to 10' cable, and temporarily mount it in another guitar.
Note: I also considered the Baggs M1, M1A, and M80, and Schertler Magnetico AG6, which are similarly swappable between guitars, but ultimately chose the Blackstack due to its similarity to the classic Sunrise pickup. To be fair, the Sunrise system can also be set up to be swappable, but I likely would have needed a guitar tech to do the wiring. With the Blackstack I was able to do it myself in less than 15 minutes.
Since the Blackstack is a passive pickup and doesn't have any controls, a preamp is a good idea, and I ended up choosing the Fishman Platinum Pro EQ.
Last Sunday (8/15/15) some friends and I played a short set at the Lanchester Fiddlers Picnic in Atglen, PA. We called this impromtu band "John EZ and the Gigolos." I'm playing my Collings D1ASB, and the sound guy did a great job amplifying my guitar.
Thanks to Lynn for taking this videos, and to Jeff for editing/posting them.
I've had my Apple Watch for about a week now (42mm space grey Sport model with black band). This isn't meant to be a comprehensive review. Instead, here are some disorganized thoughts from the first few days of wearing/using it.
- The space grey watch with black band is pretty discrete. Other than my friend who knew I got the watch and a few other friends who noticed me using it, no one has commented or asked about it (which is good). My guess is the bright blue, green, and pink bands catch more attention. The Sport band is very confortable; no complaints here.
- I only have one friend (a work colleague) that also has a watch, so I haven't tried any of the especially personal communication features. But I can't see needing to send a doodle or my heartbeat with any regularity.
- Apple Pay worked the one time I tried it (at an Apple store) however the LevelUp Passbook card did not work on the scanner at my local coffee shop and I had to use my phone like usual. If we were still shopping regularly at Whole Foods or Wegman's, Apple Pay would be fantastic. But the smaller grocery store we've been frequenting recently doesn't seem to take Apple Pay, even though they claim to have NFC on the payment terminals. Once Apple Pay is pervasive, this will be super-convenient.
- The "activate on wrist raise" feature works well (I've read some reviews that complained about it), but it is triggered while playing Dobro and Hawaiian lap steel guitar. Yes, I know this probably impacts all of maybe three people in the whole world, but sliding one's left hand and raising the tone bar makes the display light up. So I have to remember to turn that feature off when playing to save battery and not get distracted.
A couple of weeks ago, David sent me some samples of sugar maple, finished with subtly different shading, to get my feedback. All of these are beautiful, but I decided to go with the second from the left. This is going to be a stunning guitar!
In addition, we've been talking about neck size and profile, as well as the location of the adjustment bolt for the neck. David is using a system that allows the neck angle to easily be adjusted without removing the neck (and potentially that allows the angle to be adjusted while the strings are tuned to pitch). This bolt could be accessed via the neck block, through the interior of the guitar. But I've decided I want to show off this awesome design feature, and he is building this guitar with the access point at the heel of the neck, where the whole world (or at least people playing the guitar) can see it. With feature this cool, you have to show it off. See more about the neck joint on David's site.