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Hi All.

I am starting the planning phae of my next build which will be #22 for me. Will be using this forum for advise along the way and want to make this one my "STRADIVARIUS" if you know what I mean.

Of course I have said that about the previous 21 builds and while I am improving I am always disappointed by some flaw or missing the mark. Thinking of documenting each step here which will help me, but also hoping it will help others (especiallly those less experienced like myself).

So let's get started:

I am thinking 000 model with 14 frets to the body.

Want good volume with strong base but clear mids and highs.

Love the look of Imbuia and have an order in with Zootman for a special set with figure that will have a sembelence of a ghost face sort of look.

Have used Sitka, Adirondack, Englemen and Carpathian and thinking of Carpathian which in the past has come as close to what I am looking for in terms of the sound. Of course I realize this may have been more luck than planning on my part and 1000 different variables that impacted the final outcome.

Question #1: Do you think this Imbuia with Carpathian selection will compliment my goal for volume, base and clear mids/highs or conflict?

Question #2: I always struggle with lack of artistic creativity, especially when it comes to the bridge. Most of my bridges are copies of Martin style - plain and simple. Would like a bridge design more like Taylor design. Does anyone have a pattern drawing they would be willing to share for bridge?

Question #3. Suggestions for appointments. Was thinking of matching bridge, head veneer, fretboard and bindings with same materials for appearance. Considering Snakewood for all of this. Any thoughts?

Really appreciate all your feedback as always. I follow the posts on OLF daily. My day job causes me to travel extensively so I tap in every night when I am on the road to see what you guys are up to. Some really great builders here - a group of awesome folks and very very generous with sharing of experience. Just want you all to know how much I appreciate your contribution.
rich altieri38781.2742592593

I am a rookie compared to these other guys, but I did want to share something on the Question 2 on bridges. I was in the same boat, I sat down with a spiral folder the other day and started just sketching ideas. To me the Peghead & Bridge are distinguishing marks of the maker..........or in some cases it appears that way. I have selected two out of all my sketches, one is in an S shape.....last name Spencer, made sense, kind of cool looking, the second looks like a handlebar mustache (sp). I have had a big handlebar for years and my wife thought that would be a good design since alot of folks refer to me as the guy with the big mustache and cowboy hat.

Just some thoughts, when I finish the scale drawings for the templates, I will be more than happy to PM you on them.

Thanks

Mike

Ok I will be slapped down here a little but you asked for an opinion right

Strong bass? but clear mid and highs.

There is number of ways to get there Tonewood has an influence but not near as much as bracing and top tuning. I have built several OM's/OOO with this exact specification in mind. The ones with the best overall tone will surprise you IRW back and sides / Koa top. They have that Taylorish bass that feel like a shoot smooth Tenn Moonshine going down, strong but not over dominate. and brilliant highs and throaty mid tones. A great finger-style combo. Curly maple binding go great with this combo.

My bridge is darn near a martin copy so no help there but I would tace a talor to give yourself a starting point if that is what you are looking for.

On question 3: Snakewood is a good choice for your appointments.I think it is one of the most beautiful woods you could use.
Also I think it would be best to design your own style bridge.I'm trying to come up with a design of my own right now.I do like the shape of the Taylor bridge.

_________________
Anderson Guitars
Clearwater,Fl. 33755

I've never built with Imbuia, although I have a very old 1/4 sawn board that I picked up at my local Woodcraft, along with a quilted piece. It doesn't seem to have what I would term a "fantastic" tap tone, and I would think it would color the sound similarly to maple or perhaps mahogany.
One thought is, if you're looking to create a "showpiece" that you can show people, do you really want to stray too far off the beaten path of tradition? That sounds way out there with the snakewood stuff. I think snakewood would indeed be a nice complementary wood to the Imbuia from a color perspective. But you have to think about the market, and what people are looking for, and build that, with a twist of your own personality.
As to the bridge shape, why copy someone else like Taylor? Go for something more "yours" as well. You can draw inspiration from Taylor and Martin et al, but in the end, something that is uniquely yours is better.

_________________
"I want to know what kind of pickups Vince Gill uses in his Tele, because if I had those, as good of a player as I am, I'm sure I could make it sound like that.
Only badly."

Rich
i can't really say much about the way various woods make sound. You could play 5 different guitars with variant woods with my back to the player, and I couldn't say which wood combinations they were or how they different. I doubt many can. I have built two guitars from Bob's Imbuya and they looked great and the players thought they played and sounded very well. They were both 000/OM body size and 14 to the fret. One had a sitka top the other a cedar. Very good volume and sustain, and other things you noted looking for. Don't know if the wood or how I braced and and worked the wood. I bet the way it was built more than wood combo in my opinion anyway. I must admit I use to do woods thinking of tonal qualities of the wood combo's, but for me anyway, I couldn't tell much the difference. So I changed my thoughts and build with woods I like to look at. I don't like IRW much at all so have only done 1 in that. I like Koa, Blackwood, Imbuia and Cocobolo the most. I haven't had any complaints so must have done something right (knock on wood no pun intended)
I am doing one now in coco and sitka, planning on next one in some sapele I got from Bob, when I get new sides and buying some more koa from him and maybe two other sets of woods. Again no thought of tonal gualities and that kind of junk, but love the looks

Lots of good feedback for starters. Thanks guys.

I built two 000's last year with identical bodies. One from Imbuia and the other from Mahogany. Both had Adirondack tops. To my surprise they are almost identical in sound.

The real interesting thing is when it comes to the bracing, I am sure they are braced identically as I use a pattern but when it comes to carving braces I kind of did them by feel and tapping, and really didn't get the caliper out to measure.

Guess supports the notion that the back and sides do not make a huge difference in sound.

I am not making this one to sell. In fact, of all my builds I have only sold a couple. The rest are scattered across family and friends or hang on the walls of my office.

The eralier ones were not good enough to even get my cost out of them, especially as a hobby luthier. And I refuse to sell them at a loss.

I have played around trying to design a headstock and bridge and I think I lack that artistic sense to come up with something unique. Will keep hoping for someone to donate at least a starting point. I have been following some of the OLF threads on bridges and see the niclely flowing lines people create and I am in awe.

Mine always look weird. Maybe it's like when you look at your own picture?? Or hear your own voice on a recording!!

Thanks for the feeback and keep it coming!