The frets are low and flat, like surprise an electric guitar, which takes a bit of adjustment. How I usually feel about the way sound guys mic my guitar. 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:. 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.
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. So in addition to getting a guitar pickup, I'll need a small acoustic amp. These are supposedly a modern take on the classic Sunrise pickup that some of my favorite artists play e. 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.
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. 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.
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Jul 17 Sunday, July 17, Post a Comment tagged d'addario , dr strings , guadalupe custom strings , guitar , martin , strings. Jul 15 How cool are these? A gyspy jazz guitar. I'm still on the fence about it being an oval- or D-hole, although I do think the D-holes look cooler. Right now the leading contenders are instruments by DuPont and Shelley Park.
A Waterloo Jumbo King. More Waterloo mojo, in a bigger package. A Bourgeois BK. Our NSF grant was funded, so I got summer salary for the first time: Something with a " scale that is tuned to open C or B? A late 40s to mid's Martin D A '53 with a "mystery spruce" top would be perfect. An early D would also fit the bill ish. But then I remind myself that I almost always prefer mahogany guitars to rosewood. One of the new Collings Traditional dreadnoughts, especially with a Sitka spruce top since my Collings D1A has red spruce.
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These look sweet. Friday, July 15, Post a Comment tagged g.
Jul 09 Jul 04 Feb 23 Tuesday, February 23, Post a Comment in photo of the week tagged mm , fuji x-pro1 , gorilla , san diego zoo. 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.
David recently posted an update of the build on his website. Things are moving quickly, and soon it will be time for the finish to be applied! 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.
Jennifer Forrester, Summerville SC - 04/24/2013
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.
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See more about the neck joint on David's site. See part 5 here. I've been doing some consulting work which has yielded some "fun money," so I've been able to pick up a couple of new lap steel instruments recently. Following with my growing interest in the lap steel, I've been wanting a Weissenborn-style guitar as well, and luckily one just fell into my lap pun intended. Here's an interview with David Dart from the Fretboard Journal. This info comes from his website and other sources I found online.
If you are looking for a similar guitar, I encourge you to commission one directly from him since a supporting independent luthiers makes for good karma, and b his instruments don't hit the market very often. As I've been doing more reading on the history of Hawaiian guitar I'm coming to understand that calling these "Weissenborn-style" instruments is inaccurate, although that term is commonly used. Although Hermann Weissenborn certainly made relatively many guitars in this style, the design of these instruments was not original to him. This is Part 3 of my series chronicling design, construction, and eventual delivery of a tenor guitar built by David Cavins.
We're now a couple of months into the process, and we have finalized most of the design decisions. David has also started construction on the top and back, and is currently getting ready to dive into the neck. Here are the specs:. While there are still a few design decisions to make, the guitar is starting to come together.
David has been documenting the build process on his blog see here. Here are some pictures I pulled from his site:. David put these samples together to show the accents. Understated, elegant, and classic. This is a previous tenor guitar he built in , with a light sunburst finish on a sugar maple body. David photoshopped the version on the right to show me what it would look like with a backstrip. Mine will be similar with the backstrip , with a slightly darker full-body sunburst. See Part 4 here. Here's an updated list of what I'm currently lusting after:.
Ben Harper and his Weissenborn. Surprisingly, that's about it. I've pretty much satiated my desire for guitars, other than what's above. I have a banjo, mandolin, ukulele, and a couple of resonators, so I'm pretty much flush. At least until I take up the fiddle: It's interesting to see that the and lists are pretty different. It's not that I've aquired everything or anything, for that matter from the list. But tastes and interests change. As much as I'm first and foremost a guitar player, my interest in banjo and resonator guitars has taken center-stage recently.
That being said, all of the stuff on the list is still appealing to me. Would still like that Authentic, though.
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Now that I'm becoming proficient on a few different stringed instruments, most notably the banjo and lap-slide guitar in addition to guitar, I've been looking for a way to deal with with increase amount of gear that comes with these. In particular, my desk had become a mess of capos, finger- and flat-picks, and slides. In addition to desktop organization, being able to have everything in one place and ready to grab to take to a jam is important. I looked into little boxes and containers, but nothing seemed to work for this assortment of bits i.
It dawned on me that a tool rool, like I've seen bicylists use and seem popular with motorcyclists might work. Rather than calling it a "guitarist's tool roll," which makes me think of the things like truss rod wrenches and small screwdrivers to tighten tuners etc. I have become increasingly enamored with my Beard Vintage R squareneck resonator recently. I've had it for years, but have just rediscovered it in the back of my closet. Over the weekend I headed over to the semi-annual Philadelphia Guitar show. There were a couple of interesting Gibson house-brand instruments with original Hawaiian set-ups a blond Kalamazoo Oriole and a sunburst Recording King Carson Robison Model-K , but the guitar that captured my attention was a National Style 1 Squareneck Tricone.
This particular National was being offered by a dealer from Arkansas who had made his way up to Philadelphia for the show. He acquired the instrument from the family of the original owner in Kansas City. The serial number dates it to , and it is in remarkable condition. There are no big dings or dents, and it is purported to be all original, including the tuners i.
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The dealer even mentioned that the screws on the coverplate look untouched, so the coverplate may never have been removed. This is Part 2 of my series chronicling design, construction, and eventual delivery of a tenor guitar built by David Cavins. See Part 1 here. As David and I begin discussing this project, he asks me think about what I want it to sound like. But rather than only sticking to the standard lexicon that guitar geeks use e.
Another flavor that might be a good descriptor is grapefruit: Not as light or sweet as lemonade; more personality than orange juice. Translating sound to color, I'm thinking orange. But not electric or neon orange, but instead the vibrant, organic orange of leaves changing color in the fall. Amazingly, this description makes sense to him. I tell him about my new Collings D1A , what I like about Ds, what I dislike about a particular guitar that a friend of mine owns, and I try to describe my playing style and goals. With this information in mind, we schedule a phone call. Although we spend part of that 90 minutes catching up, most is spent talking guitars.
It's a joy to hear David's familiar voice after all of these years, and to be able to tap into his experiences with different design philosophies, construction techniques, and tonewoods is amazing. As a scientist, I appreciate this process, and as a guitar geek and builder of one instrument , I know enough to be dangerous. David and I have similar values when it comes to the sociopolitical and environmental issues surrounding wood. He aims to source as much of his tonewood locally as possible, and avoids endangered, or questionably harvested, woods. David is fortunate to have a top supplier of these materials near him in Missouri , and these are domestic woods that both will have the tonal properties that we are aiming for as well as being responsible environmental choices.
A Cavins tenor guitar in sugar maple; from cavinsguitars. To date, David has build about 30 guitars, although some are unnumbered, so mine will be serial He has built a couple of tenors previously , with a recent one also being red spruce and sugar maple. Now that we have the basic framework in place e.
Stay tuned for Part 3. A tenor guitar is an instrument that was popular nearly years ago read more here. Why would one want a tenor guitar? For variety, of course! Both registration and sign in support using google and facebook accounts. Escape will close this window. Get started. Continue with Facebook. Continue with Google. Enter your email. Have an account? Sign in. First Name. Email Your confirmation will be sent to your email address. Confirm Password. Uh oh! You need to have cookies enabled to sign in. Sign in with Facebook.
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