Official Luthiers Forum!

Hello friends.
does any one has read or saw the dvd of Carruth Plate Tuning DVD
is it useful or worth buying?
if anyone has then im ready to trade it
thanks friends

I have it. It is a great starting point. Really did a great job answering a lot of questions I had to get me off and running. There is still a little bit of a learning curve, but that is to be expected.

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I have it too, watched it, and then promptly lost it in the chaos of my house. [DISAPPOINTED FACE]

It is very helpful to see the man who mostly developed these techniques actually apply them. I've only done a couple of tops using this technique, but both continue to surprise me how balanced and pure they sound. I'm not a bluegrass strummer or crunchy blues player, so YMMV. I love the one I still have.

It's not a fun process. The volume of the tones is VERY loud, it's a bit unnerving to hold a raw speaker in your hands, and the glitter goes everywhere. But it does seem to produce sweet sounding guitars.


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Its not so expensive
http://collinsguitar.com/carruth-plate-tuning-dvd/

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The name catgut is confusing. There are two explanations for the mix up.

Catgut is an abbreviation of the word cattle gut. Gut strings are made from sheep or goat intestines, in the past even from horse, mule or donkey intestines.

Otherwise it could be from the word kitgut or kitstring. Kit meant fiddle, not kitten.

I didn't know Alan had a dvd. That'll go to the top of my wish list. Any thing he posts here I read over and over in hopes that I can remember when I'm in my shop.

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I have the DVD and it has been very useful. Quite long, and difficult to get through it all in one session. The first part of the DVD which basically explains the principles was somewhat tedious for me because I have been using Chladni plate tuning on mandolins for many years, but it is well worth getting if you want to use Alan's techniques on guitars. If you are not interested in Chladni plate tuning don't bother. If you do want to use Alan's techniques I would recommend you use some sort of symmetrical bracing. It is a heck of a lot easier to get a closed ring & 1/2 if the bracing is symmetrical.

I read them over and over in hopes that I might one day understand them ...

Peter Coombe wrote:
" If you do want to use Alan's techniques I would recommend you use some sort of symmetrical bracing. It is a heck of a lot easier to get a closed ring & 1/2 if the bracing is symmetrical."

Which is why I went to symmetrical bracing... A student and I were doing a post-mortem after a plate tuning session and decided that it didn't make sense to start out with asymmetric bracing when you're trying for a symmetric pattern. It still took me a year or two to actually bite the bullet and try it, though. I got a chance to make an 'almost matched pair' for a friend, and used them as a test bed, making one with 'standard' bracing and the other with the double-X I show in the video. I took them to an ASIA meeting and had people try them out. the double-X was preferred slightly, but by about a 2:1 margin by players who didn't know what the experiment was. Some folks said that the symmetric bracing was more 'modern', while the asymmetric scheme was more 'traditional'.

If the glitter is getting 'all over the place' you're driving things too hard, which is why the tones are too loud. This is not to say that they're NOT loud, especially since sine waves are harder on the ears at a given power level than 'normal' sounds. Wear hearing protection. Please.

When I look at it, it's four hours of some guy saying: "Well, THAT didn't work..." Partly that's because I dislike the 'Norm Abrams' thing where all you see are the easy cases, which makes it look simple. It leaves you not knowing what to do when things don't work. Doing four tops, with one that was a real problem, and delving a bit into the theory behind it, made for a long DVD, but got across more of what I wanted.

Me too!