Robert Irizarry Posted March 1, 2006 Report Share Posted March 1, 2006 In terms of designs, I have an interest in both ergonomic guitars and headless designs. I’ve done a lot of research and the Klein Electric is one of the more ergonomic designs out there. Here is an example (not me, btw): The body balances well both standing and sitting. It is particularly suited for playing in a sitting position because the neck naturally falls at an angle. It also provides substantial support for the right arm. Unfortunately, an original is largely out of my reach for two reasons. First, its builder has been incapable of keeping up with orders. There are people now waiting two or more years according to a number of posters to the Klein Electric Guitars Group over at Yahoo.com. Second, even used ones are fetching $5000. That’s about $4999 more than I currently have. Therefore, this brings me to my first project attempt. I’ve decided to attempt to recreate one. The primary inspiration for this goes to Jason Fink who showed it was possible. More recently, Francis Lannie began a similar project and has shown good progress. The following are my major considerations in terms of the direction of the project: 1. Simplicity – I’m a big believer in “form follows function”. Some would say I’d have to be since the Klein shape is one of those love it or hate it designs. I also have little in the way of woodworking skills so the KISS (keep it simple stupid) principle is in effect. 2. Low cost – I have Fender Lace pickups already lying around from a long defunct Fender Strat Plus. I will also “borrow” the Steinberger licensed bridge from my Hohner headless. 3. Ergonomics – Apart from the shape itself, I’m also looking to keep weight down. To help meet this goal, I decided on a 1.5” thick alder body blank. I would have gone thinner - I love the Black Machine super thin guitars - but I’m limited by the depth of the Steinberger licensed bridge. As far as specifics, I’ve decided to go with the following: 1. Alder body 1.5” thick 2. Bolt on neck – I’m not building the neck. 3. Fender Lace pickups in neck and bridge position 4. Control layout - Single volume, single tone and 3-position switch with a guitar face mounted output jack. 5. Wipe on finish – I’m considering tinted Danish oil or just black shellac like Myka’s beautiful work as seen here: http://www.mykaguitars.com/instruments/031/default.htm. I'm leaning toward black. I love black. Not only does it go with my minimalist approach, it also goes with my wardrobe. 6. Headless design – I’ll use a Kahler behind-the-nut locking clamp (rather than the standard headpiece seen on Steinberger designs) on a regular neck converted to headless duty. For Mickguard’s sake, I haven’t ruled out a pickguard BUT I haven’t come up with a shape I like. The standard Klein pickguard doesn’t work for me. If I’m going to commit to a pickguard, then the knobs, pickups and output jack (conventional type not a strat type) should all mount to the pickguard. The standard Klein layout is a combination (I would say mish mash) of both pickguard and rear routed forms. It has to be one or the other. I welcome all comments and suggestions. I’m particularly curious about your thoughts on control layout and appropriate pickguard designs/layouts. Wish me luck... Quote Link to comment Share on other sites More sharing options...
wardd Posted March 1, 2006 Report Share Posted March 1, 2006 Is this the same thing as the old Ovation Electric? It sure reminds me of it. Found a link: http://www.ovationgallery.com/pagesolid.htm d ward Quote Link to comment Share on other sites More sharing options...
Pr3Va1L Posted March 1, 2006 Report Share Posted March 1, 2006 Breadwinner? Kinda looks like it doesn't it? Ovation Breadwinner: Quote Link to comment Share on other sites More sharing options...
Robert Irizarry Posted March 1, 2006 Author Report Share Posted March 1, 2006 Is this the same thing as the old Ovation Electric? It isn't the same as the old Ovation but its hard to deny that it wasn't an inspiration for the designer Steve Klein. Ultimately, very few things are truly original. That said, it doesn't diminish the design and the improvements to balance and general comfort. Breadwinner? Kinda looks like it doesn't it? Yes. However, the lower bout is quite different and that is part of what makes it better balanced. I'm sure the lack of a headstock and tuning keys also helps. Quote Link to comment Share on other sites More sharing options...
wardd Posted March 1, 2006 Report Share Posted March 1, 2006 There’s a joke here:* Women vs. Guitars : Pretty vs. Ugly : Comfortable vs. High Maintenance *But I ain’t touchin’ it. d ward Quote Link to comment Share on other sites More sharing options...
Robert Irizarry Posted March 1, 2006 Author Report Share Posted March 1, 2006 There’s a joke here:* Women vs. Guitars : Pretty vs. Ugly : Comfortable vs. High Maintenance *But I ain’t touchin’ it. There sure is and I'm going to leave it alone as well. Like I mentioned, its a love it or hate it kind of design. I fall more on the side of function as far as guitars are concerned. There's a certain "elegance" to a functional design. Note I said "elegance" and not necessarily "beauty". I will say this much though - As far as women, I like them pretty, smart and a bit difficult. My wife has been keeping me on my toes for six years. Quote Link to comment Share on other sites More sharing options...
psw Posted March 1, 2006 Report Share Posted March 1, 2006 I much prefer the ovation...especially in white It was pretty innovative for it's time 24 frets, very slim neck and active electronics...but it's bridge and electronics were a real worry and the neck was just not stiff enough...felt like rubber!! But as far as ergonomics goes it was very comfortable to play... Klien added ergonomics to steinberger's minimalist ethic by giving it just enough body and no more. But he did retain the carbon fibre neck which provides the stiffness necessary in such a design. Along similar lines is the "Acoustic-Electric" solidbody guitar, pragmatist Adrian Legg tends to play these days of his own design... I can appreciate the post modern minimalist design ethic but just as this paradigm would preach "function follows form" I would now argue that you can still have "form and function". Southpa's earlier Strat comment is still not far off the mark... Really, some of these designs have just aimed to cut off what is supurfluous...horns and such, strip it down to it's essentials... But, philisophically, what has been gained. Does it really play better for not having horns...NO...it serves to fulfill a "function over form" aesthetic...essentially a fashion statement as much as Gibson's flying V! The V is simply an aesthetic of a different kind. You can cut the horns off a strat. It may not balance quite right, but you can fix that by cutting off the head and scooping out the back and redesigning the whole tuning mechanism adding weight to the back end as a counterbalance in the process. The end result is a headless, hornless strat! Does it play "better" for that....hmmm. But it is a statement... I love to see a design well done, and there is some beauty to the post-modern aesthetic...but this is just one of any number of guitar fashion statements and there really doesn't seem to actually been a lot of improvement for it. In short, the function is the same only the form changes. Less is not always more...a bit of supurfluous wimsy, retro romance, exotic timbers, bizzar shapes and design styles that may serve no particular function (other than aesthetic) yet doesn't take away from function...there is some heart and soul there... The function of the aesthetic should not be underestimated and that beauty comes in many forms, and that this appoach is just one expression of it... My point of this is...I really don't see the claim that Klien's guitars are particularly more "ergonomic" to a strat (which can also be played neck up and balanced) is valid really. The charm is in the stripped back to essentials aesthetics, the allure of the new and different...but I don't see it as a real advance in function at all...even in ergonomics. All the body carves are virtually identical to the Strat you know...less the horns. So that's my personal feeling of such things at the moment. If you were going to do this...is not your hohner a bolt on?...Simply replacing the body and using all the parts from that guitar would seem to be the cheapest and logical way to go to try out these ideas. I'm sure that eventually the attraction of more conventional guitars will tug at your heart and this wont be your last project...I suspect we may see horns in your guitar design future... pete Quote Link to comment Share on other sites More sharing options...
Robert Irizarry Posted March 2, 2006 Author Report Share Posted March 2, 2006 I much prefer the ovation...especially in white... In the short time I've been on the board, I've already learned to appreciate your input on other topics I've started. This is no different. I agree that aesthetics and function do not need to be mutually exclusive. In fact, I like nothing more than to see them combined. I can already see forward to another project and you're right - it will probably have a more traditional form. I've already been toying with the idea. For now, I'll be exploring this form to see where it takes me. As to the Hohner headless, its actually a neck through design so unfortunately, I can't use the neck. But I think I can leverage it as a test bed for future ideas. Thanks! Now can I get Mickguard to suggest an appropriate pickguard shape for this thing? Quote Link to comment Share on other sites More sharing options...
Mickguard Posted March 2, 2006 Report Share Posted March 2, 2006 My job is to defend the USE of pickguards, not to impose design choices. Sorry! But I'd suggest you have a look at the Reverend guitar pickguards I like this one a lot: Working in this direction, you'll be able to adapt the idea to match the Klein-type shape. Remember that the pickguard's other function is to provide design relief, especially contrast to the color, but pickguards can also be used to comment on the body shape. Although I'm with psw, I prefer the Ovation design --it has the "flow" of a true aesthetic that the Klein 'function over form' imperative lacks. I agree, there are features to the Klein that can be very interesting to have --especially the angled neck-strings-bridge axis, which make a whole lot of sense. At least for a sit-down guitar (my Rocket 350 naturally falls into the same axis while standing). My suggestion would be to adapt Klein's ideas to the Ovation design --you'll want to have a similar bottom in order to fit the Steinberger bridge anyway. By merging ideas from the two body styles, you'll end up with a design you can call your own, if that's important too you. More importantly, you'll be making a guitar that works for YOU. As for the weight issue --there are alternatives for that too. You could chamber your wood or add honeycombs like Gibson does (you'll need to add a cap too, in that case). Alternatively, you can add in carves to the design --take out wood at the belly and the thigh for example, and carve a slope for the forearm --in other words, adapt the Strat ergonomics into the design as well. Quote Link to comment Share on other sites More sharing options...
Robert Irizarry Posted March 2, 2006 Author Report Share Posted March 2, 2006 My job is to defend the USE of pickguards, not to impose design choices. Sorry! But I'd suggest you have a look at the Reverend guitar pickguards Working in this direction, you'll be able to adapt the idea to match the Klein-type shape. Remember that the pickguard's other function is to provide design relief, especially contrast to the color, but pickguards can also be used to comment on the body shape. Thanks, Mickguard! You gave me exactly what I was hoping for - suggestions on a shape and thus a path to pursue. I also appreciate the comments on pickguard aesthetic. Not being a connoisseur of the pickguard, I turned to its greatest defender for help. "Help me Obi-Wan Mickguard; you're my only hope!" Although I'm with psw, I prefer the Ovation design --it has the "flow" of a true aesthetic that the Klein 'function over form' imperative lacks. I agree, there are features to the Klein that can be very interesting to have --especially the angled neck-strings-bridge axis, which make a whole lot of sense. At least for a sit-down guitar (my Rocket 350 naturally falls into the same axis while standing). My suggestion would be to adapt Klein's ideas to the Ovation design --you'll want to have a similar bottom in order to fit the Steinberger bridge anyway. By merging ideas from the two body styles, you'll end up with a design you can call your own, if that's important too you. More importantly, you'll be making a guitar that works for YOU. I agree with both of you. The Ovation design does a nice job of working both the form and function aspects of the equation. Being my first build, I'm not quite ready to begin with my own design. I was able to obtain a plan for the Klein and it made sense to begin with this concept, explore it as it is and then branch out later. I've already been thinking about ways to come up with my own design that incorporates a blending of Ovation style and Klein function. Right now, I feel the need to establish a baseline of sorts, see what works and doesn't work and proceed from there. As for the weight issue --there are alternatives for that too. You could chamber your wood or add honeycombs like Gibson does (you'll need to add a cap too, in that case). Alternatively, you can add in carves to the design --take out wood at the belly and the thigh for example, and carve a slope for the forearm --in other words, adapt the Strat ergonomics into the design as well. I've been thinking about how to minimize weight in a future design as well. I would definitely consider chambering. Also, a future design would incorporate a fixed bridge which would allow me to go even thinner with the body. Again, for my very first attempt I wanted to keep it simple since I have no established skills. This first build will hopefully help to develop the skills I'll need to work toward implementing something original. And, yes, forearm contours and belly contours are part of the equation (the Klein also incorporates these). I don't deny their value. I just don't think they are the only part of the equation. As I've mentioned before I owned a Strat and the overall package didn't deliver on the comfort level I was looking for - particularly the "angled neck-strings-bridge axis, which as you stated, "make a whole lot of sense." Quote Link to comment Share on other sites More sharing options...
Robert Irizarry Posted March 2, 2006 Author Report Share Posted March 2, 2006 Here's my template on 1/4" MDF. Not bad for a first go at a jigsaw, rasp and files. I obtained the plan from the Guild of American Luthiers Plan Page which had a Klein solidbody harp guitar full size plan available. I simply deleted the harp. Please ignore the slight schmutz: The body blank is on order from Mammoth Guitars. Douglas has been VERY helpful. I hope to have it in the next couple of days. Quote Link to comment Share on other sites More sharing options...
psw Posted March 2, 2006 Report Share Posted March 2, 2006 Hey Rob If you are interested in alternative materials and construction techniques look into these reverend guitars a little more. They have a solid wood core but a plasic sides/binding with (often) aluminium front and back and a simple bolt on neck. They have a retro aesthetic and their construction is not that disimilar to a 355 or the old masonite danelectro, but by all accounts light and sound great. I had entertained a similar build with aluminium sheet and filled with expanding foam in the wings. Pickguards can serve a practical purpose for mounting controls as demonstrated on the strat. If not on the front you need to be able to accomplish acurate routing on the top, and provide cavity covers on the back anyway. Anyway...glad to see I didn't offend with my philosophical rant. I did go through a period of intense interest in such designs and I would still like to see some alternate materials and constructions being explored. cheers... pete Quote Link to comment Share on other sites More sharing options...
Robert Irizarry Posted March 2, 2006 Author Report Share Posted March 2, 2006 Hey Rob If you are interested in alternative materials and construction techniques look into these reverend guitars a little more. They have a solid wood core but a plasic sides/binding with (often) aluminium front and back and a simple bolt on neck. They have a retro aesthetic and their construction is not that disimilar to a 355 or the old masonite danelectro, but by all accounts light and sound great. I had entertained a similar build with aluminium sheet and filled with expanding foam in the wings. Pickguards can serve a practical purpose for mounting controls as demonstrated on the strat. If not on the front you need to be able to accomplish acurate routing on the top, and provide cavity covers on the back anyway. Anyway...glad to see I didn't offend with my philosophical rant. I did go through a period of intense interest in such designs and I would still like to see some alternate materials and constructions being explored. cheers... pete Pete: I'm here to learn and I appreciate a thoughtful discussion - I did not take offense nor did I consider it a rant. I will follow up with a closer look at the Reverend guitars. Thanks for pointing out the construction techniques. I am interested in alternatives materials and construction. I don't think that will ever go away. Right now, everything is a learning experience with regard to building a guitar and I enjoy entertaining alternatives. Note the quote in my signature. Thomas Edison and the laws of chance say that I stand a chance of a good idea if I have lots of them - kind of like giving enough monkeys a whirl at a typewriter. Eventually one of them will write Shakespeare. As to the pickguard, I'm interested in it for two reasons. The first is aesthetics. Despite what might have come across in my initial post, I like a good looking form just like any other red blooded male. My thought was that a pickguard could add some visual interest to an "unusual" form and my choice of alder which is a relatively plain wood. I want to go with a wipe on type finish (for simplicity) and thought a pickguard could help. The second reason is that it is a highly practical approach. I can botch a few pieces of pickguard material and I'll only be out a few dollars. I can also route a bit more wood under the pickguard and lose a bit more weight in the process. However, if I botch my body blank, I'll probably cry. Thanks! Quote Link to comment Share on other sites More sharing options...
perhellion Posted March 3, 2006 Report Share Posted March 3, 2006 I've long admired the Ovation/Klein deisgn for looking really comfortable, but I've never seen or played either. Couple of things I noticed here - you said you wanted to go thin but were concerned about the trem. If you want a hardtail, the bridge seperates into top and bottom halves, and you can use only the top part = much thinner. You could also go thinner with a lock nut, a TOM, and a fine tuner tailpiece -- someone on this board did just that in building a travel guitar with a mandolin-shaped body. Those guitars Adrian Legg plays are pretty much Klein shaped bodies with "acoustic like" necks. I actually contacted Klein when I noticed one pictured on an Adrian Legg CD, and they were quick to point out these were not made by Klein. Quote Link to comment Share on other sites More sharing options...
Robert Irizarry Posted March 3, 2006 Author Report Share Posted March 3, 2006 I've long admired the Ovation/Klein deisgn for looking really comfortable, but I've never seen or played either. Couple of things I noticed here - you said you wanted to go thin but were concerned about the trem. If you want a hardtail, the bridge seperates into top and bottom halves, and you can use only the top part = much thinner. You could also go thinner with a lock nut, a TOM, and a fine tuner tailpiece -- someone on this board did just that in building a travel guitar with a mandolin-shaped body. Those guitars Adrian Legg plays are pretty much Klein shaped bodies with "acoustic like" necks. I actually contacted Klein when I noticed one pictured on an Adrian Legg CD, and they were quick to point out these were not made by Klein. Thanks for the comments. Right now I'm going with the Steinberger licensed bridge I already have on my Hohner. That is my limitation on going thinner than 1.5" without having the tension mechanism sticking out the back. Once I get past this build, I'll be looking at coming up with an original design and incorporating a fixed bridge like the ABM headless bridge. As to the Adrian Legg guitar, I thought it was interesting that he went with what essentially looks like the Klein shape with a conventional headstock. I think the key dimensions to consider are the degree of right arm support, the width of the body and the shape of the lower bout and I'll be looking toward those when I get to trying to be original. Quote Link to comment Share on other sites More sharing options...
xtjdx Posted March 3, 2006 Report Share Posted March 3, 2006 Nice design. Quick question, are you related to a Natasha Irizarry? Quote Link to comment Share on other sites More sharing options...
Mickguard Posted March 3, 2006 Report Share Posted March 3, 2006 I'm so sure about the wiped on finish part...I recognize that you're trying to lower the thresholds for your first build, but finishing the guitar isn't that tough. Actually, it's not difficult at all --find a local body shop that's willing to spray it for you (no doubt, you'll find one or two that have already done a few guitars). It won't cost much and you'll end up with a nicer result. I found a garage here that does it, so that's the end of rattle cans for me! Also, I'm pretty sure alder is prone to cracking, and I don't know if a wiped on finish is enough to prevent that. Something to look into, at any rate. Anyway, you'll see, every part of the process has its own difficulties--and its own fascinations. Just remember to practice on scrap first, and your chances of ruining things are pretty minimal. (the template looks excellent by the way...) And take your time ---I have project here (a bass!) that's been stalled for two months now...got to route the neck pocket....it's been too cold to work, and on the few days where I could have done it, I just wasn't up to it... Quote Link to comment Share on other sites More sharing options...
Robert Irizarry Posted March 3, 2006 Author Report Share Posted March 3, 2006 Nice design. Quick question, are you related to a Natasha Irizarry? Hey thanks. I think you're the first to say its a nice design. (Just kidding folks. I'm far more thick skinned than that.) Funny question that you ask about the last name -this is the second time this has come up on the board. Let's see - um, not that I know of? How's that for an answer? I guess I'm not the only one who thinks its an unusual last name. Until high school, the only Irizarry's I knew were family and there weren't that many. High school was the first time I encountered an Irizarry that wasn't family (to the best of my knowledge). Since then, I've encountered or heard of quite a few. The name is of Basque origin and it would seem that the Irizarry males have been far busier than I originally thought. Heck I'm the oldest of seven and my dad had three adult kids from another marriage by the time I was six or so - a total of TEN in all! I, on the other hand, have not kept up with tradition... Quote Link to comment Share on other sites More sharing options...
Robert Irizarry Posted March 3, 2006 Author Report Share Posted March 3, 2006 I'm so sure about the wiped on finish part...I recognize that you're trying to lower the thresholds for your first build, but finishing the guitar isn't that tough. Actually, it's not difficult at all --find a local body shop that's willing to spray it for you (no doubt, you'll find one or two that have already done a few guitars). It won't cost much and you'll end up with a nicer result. I found a garage here that does it, so that's the end of rattle cans for me! Also, I'm pretty sure alder is prone to cracking, and I don't know if a wiped on finish is enough to prevent that. Something to look into, at any rate. Anyway, you'll see, every part of the process has its own difficulties--and its own fascinations. Just remember to practice on scrap first, and your chances of ruining things are pretty minimal. (the template looks excellent by the way...) And take your time ---I have project here (a bass!) that's been stalled for two months now...got to route the neck pocket....it's been too cold to work, and on the few days where I could have done it, I just wasn't up to it... Thanks for the input on the finish. I'm not completely married to the idea of a wipe on finish. However, while doing some research on finishing alder I came across many examples of its use in furniture and cabinet making so I'm guessing its relatively sturdy stuff. If anybody else has input on alder I'd appreciate it. I'll make sure to practice. I wouldn't want to get that far and then ruin it. It would be enough to bring me to tears. Well, maybe not tears. Maybe more like - Oh and thanks for the compliment on the template. I was REALLY surprised at how well it came out considering my COMPLETE lack of experience with anything resembling woodworking. I was smiling from ear to ear for the next hour and then every time I thought about it over the next few days. To test the template, I traced the shape onto paper. Looks good. Of course the next challenge will be to not mess up during the routing. Oh and thanks for the advice on taking my time. It seems like I've been at this idea for a long time when I honestly only started thinking about it in early January. I'm trying to appreciate every step of the process and so far I am. Quote Link to comment Share on other sites More sharing options...
psw Posted March 3, 2006 Report Share Posted March 3, 2006 Those guitars Adrian Legg plays are pretty much Klein shaped bodies with "acoustic like" necks. I actually contacted Klein when I noticed one pictured on an Adrian Legg CD, and they were quick to point out these were not made by Klein. As to the Adrian Legg guitar, I thought it was interesting that he went with what essentially looks like the Klein shape with a conventional headstock. I think the key dimensions to consider are the degree of right arm support, the width of the body and the shape of the lower bout and I'll be looking toward those when I get to trying to be original. Adrian Legg has a very dry, pragmatic personality (maybe check out his video), pretty no nonsense and direct. Reminds me of Robert Fripp a little, maybe an english thing... Anyway...it would be in his nature to look at the guitar in this way...nothing supurflous, everything just so. His approach to acoustic guitar is kind of innovative. He looks at an amplified acoustic, electric-acoustic as an electric guitar...as of course it is! SO, (generally subtle) effects are not a problem even when playing his ovations, he uses very light electric strings to get bends within chords too...great stuff. His most innovative technique is his use of banjo "keith peg" tuners to achieve multiple tunings in the one song. These pegs can be set with a stop screw so you can instantly detune to a fixed point on every string. Quite amazing to see him totally retune his guitar mid song without interupting the tune at all (he generally plays solo, finger style). So, to maintain this technique on his guitar he needs to have the pegs up that end of the neck...he generally uses the fretting hand to retune to allow continuous picking. I don't know about the tremolo on this guitar as this tuning trick would cause havouc. Maybe he needs a treml-no on it!!! A. Legg used to be a guitar tech and wrote an infuential book on customizing guitar electronics many years ago. I'm not surprised to see him going essentially solid body now, it probably has piezos as his main sound in the bridge. Interesting guy and musical approach...worth checking out if you don't know him... Rob...oh I like the Klien idea and it is attractive in it's own way....very impressed by the template, it's great when you find things aren't as hard as you feared...keep up the good work... pete Quote Link to comment Share on other sites More sharing options...
Robert Irizarry Posted March 5, 2006 Author Report Share Posted March 5, 2006 Legg used to be a guitar tech and wrote an infuential book on customizing guitar electronics many years ago. I'm not surprised to see him going essentially solid body now, it probably has piezos as his main sound in the bridge. Interesting guy and musical approach...worth checking out if you don't know him... Very interesting. I'm not familiar with his work. I've heard the name but not pursued it. I think its time to do a little research. ...oh I like the Klien idea and it is attractive in it's own way....very impressed by the template, it's great when you find things aren't as hard as you feared...keep up the good work... Thanks for the encouragement. The template was a pleasant surprise and I'm hoping to continue evolving some skill as I move further into the project. I'm still debating the pickguard a bit but went ahead and ordered material for one. I guess I can start with the idea of a rear routed guitar and if I blow the pickup routing I can adapt it to a universal cavity and a pickguard. One way or the other I will give a try on scraps first and get a feel for the process. Actually, I am looking at the pickguard as an aesthetic element at this point. Those Reverend guitars to which Mickguard pointed me have indeed given me some ideas. Right now I'm debating the location of the pickup selector switch from its "standard" position away from the volume and tone knobs. If you look at the template, you'll see that it is in the upper section of the lower bout. I like it there BUT I think its current position is the one element that is hampering me from coming up with a reasonable pickguard design. I find that the pickguard starts to overwhelm the rest of the face of the guitar in the couple of attempts I've made at coming up with an idea for one. I probably just need to spend a bit more time thinking about this aspect. Quote Link to comment Share on other sites More sharing options...
Robert Irizarry Posted March 5, 2006 Author Report Share Posted March 5, 2006 Small update: Here is a picture Douglas Jordan of Mammoth Guitars provided of my alder body blank. It looks very good... Also, I've ordered a number of odds and ends from Douglas who has been wonderful to work with. He has been very helpful throughout the process and very quick to get back to me regarding questions and quotes. I particularly love the fact that he's so comfortable working via email. They are an ALLPARTS dealer for those who don't know. Quote Link to comment Share on other sites More sharing options...
Mickguard Posted March 5, 2006 Report Share Posted March 5, 2006 I can't wait to see this one take off... Quote Link to comment Share on other sites More sharing options...
Lietuvis Posted March 5, 2006 Report Share Posted March 5, 2006 This is looking good so far... quite different from all the other builds on here. Quote Link to comment Share on other sites More sharing options...
psw Posted March 6, 2006 Report Share Posted March 6, 2006 As the old thread sinks into the sunset (might want to link the two) and this project i comes together...i don't know where to post now!...Anyway I found this over at www.unfretted.com Very Klien like...have to look into it a bit more looks almost like it's made of metal...and no pickguard and a diy tuning system. Very tempting to make something like this, especially since i can make an affordable sustainer...think what you can save in money and effort by not fretting...at all!!! A well played fretless is a very interesting sound and when you consider music outside the western chordal system, it does make some sense. Don't see too many fretted violins now do you...lol. As a project to test out your skills, not such a silly idea...certainly unique. Anyway, posted this here because of the obvious Klien influence and the minimalistic approach... pete oh...for the interested here's a link to the unfretted site and forum... www.unfretted.com The Unfretted, or Fretless Guitar popped into existance in the last century. Currently the fastest growing cult instrument in the World today it is played by the famous and the soon to become famous. The wide range of musical styles and genres heard on the fretless guitar are only matched by the diverse and colourful artists playing this unique instrument. Quote Link to comment Share on other sites More sharing options...
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