Martin
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Post by Martin on Mar 15, 2015 11:16:05 GMT
If you have any questions for Nigel following his interview thread, or any comments to make, please do so here  |
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Post by alexkirtley on Mar 15, 2015 13:43:06 GMT
I've played one of the session king guitars when I went down to visit Nigel, it is now one of my favorite guitars, looks really cool and I loved the sound of it!, it suited me and where I play down to the ground I think, I was on the verge of putting my name down for one but despite the price being very reasonable for a handmade guitar, there's still no way I could afford one, but one day I really want to get one, one day...
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leoroberts
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My main instrument is: probably needing new strings
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Post by leoroberts on Mar 15, 2015 18:54:15 GMT
A fantastic interview - lots of interesting insights and snippets. I suspect that it wasn't like trying to get blood out of a stone  Lovely photos, too, which is always nice. So, after the comments; the questions ... nkforster, 1. Would you ever consider taking on an apprentice as Stefan did for you? If so, what qualities would you look for? 2. There's no mention of finish in the article (or on your site, that I could see). Is that something you negotiate with the client or is it just as it is and if they don't like it they go elsewhere? 3. The question I always ask ... your order books are full so you clearly don't need endorsements but, if you could choose one musician to exclusively use Forster instruments who would it be, and why? |
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Post by nkforster on Mar 15, 2015 20:13:39 GMT
A fantastic interview - lots of interesting insights and snippets. I suspect that it wasn't like trying to get blood out of a stone Lovely photos, too, which is always nice. So, after the comments; the questions ... nkforster, 1. Would you ever consider taking on an apprentice as Stefan did for you? If so, what qualities would you look for? 2. There's no mention of finish in the article (or on your site, that I could see). Is that something you negotiate with the client or is it just as it is and if they don't like it they go elsewhere? 3. The question I always ask ... your order books are full so you clearly don't need endorsements but, if you could choose one musician to exclusively use Forster instruments who would it be, and why? Glad you enjoyed it Leo. 1. No. It's just training the competition. Mind, I've toyed with the idea of setting up shop somewhere warm and opening a lutherie school...There is a feller who does it in India. In the jungle by a beach. He only works 5 months a year... 2. For years Dave Wilson finished my guitars but last year he closed his workshop. I think he's still spraying Stefan's work in a shed somewhere but he ain't doing mine. I job my finishing work out to two other fellers now. One for the posh high gloss A/C work, and another chap who specialises in the nitro "relic" finish for the Session King. I've no interest in learning how to spray. I'd rather pay someone who does it full time. I have learned french polishing though and I love it, both the process and the results. The little Howe Orme replica is French polished. I took lessons from Roy Courtnall Summerfield in Lincoln, and last year travelled to Tacoma to learn from the master - Eugene Clark. I went on an amazing field trip around north India too as the guest of the Indian shellac board (IINRG) to learn about the production. I hope to write it all up on the blog this year. It's an amazing material. Sad thing is, shellac is too tender a finish for most players. Whilst they like the idea of it, the reality of an easily marked guitar doesn't go down well. But if anyone wanted their instrument French polished I'd be happy to do it. 3. The topic of endorsements is an interesting one. Few well known musicians can actually transform your business in the way you or they might imagine. The number of those who can is small. In the folk world, where most of my business is, you could count them on one hand. Most pro musicians won't sell you any more instruments than any other happy customer. They're the best endorsees - happy customers. Mind, I'd be chuffed to bits if Johnny Marr bought one! |
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ocarolan
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Post by ocarolan on Mar 16, 2015 14:08:09 GMT
Hi Nige - really enjoyed reading your piece, and some lovely pictures and sounds made it even more interesting. The "Session" guitar sounds really interesting - what sort of price are you thinking of for the mahogany version...?
Keith
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Martin
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Post by Martin on Mar 16, 2015 14:44:17 GMT
It was great to get you involved in this luthier series, Nigel, and the responses to the questions were great.
I'm also intrigued by your new 'Session King' guitar, particularly because of its plain looks and your confidence in it as a performer.
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brianr2
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My main instrument is: Fylde Goodfellow
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Post by brianr2 on Mar 16, 2015 17:25:00 GMT
A fascinating and insightful interview, which I enjoyed enormously. Thanks to nkforster and Martin. I was especially struck by the continuous development of techniques, materials and design. I should be interested to know if these arise as solutions to specific problems or challenges, flashes of inspiration or the structured re-evaluation of accepted wisdom? With so many variables, how do you quantify success? Brian |
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Post by Deleted on Mar 16, 2015 18:24:05 GMT
Yes, got an email flyer through about the Session guitar- very interested in a price. Nice article- will read it in more detail later. A friend of mine, Rob Rowles, is getting one of your Bouzouki guitars- can't wait to try it out when he gets it Robbie |
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Wild Violet
Artist / Performer
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My main instrument is: Symonds OM-14
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Post by Wild Violet on Mar 16, 2015 18:29:31 GMT
Do you think your guitars are more suited to any particular style of playing?
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Post by nkforster on Mar 16, 2015 19:25:46 GMT
Hi Nige - really enjoyed reading your piece, and some lovely pictures and sounds made it even more interesting. The "Session" guitar sounds really interesting - what sort of price are you thinking of for the mahogany version...? Keith Send me an email through my site and I can send you the price list Keith. n |
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Post by nkforster on Mar 16, 2015 19:37:23 GMT
A fascinating and insightful interview, which I enjoyed enormously. Thanks to nkforster and Martin. I was especially struck by the continuous development of techniques, materials and design. I should be interested to know if these arise as solutions to specific problems or challenges, flashes of inspiration or the structured re-evaluation of accepted wisdom? With so many variables, how do you quantify success? Brian Yep, all of the above! It's about striking a balance between the work I find really interesting and what is commercially acceptable. This is my living after all. I would never have considered making a flat top guitar in the past but when I realised making a guitar for students had to be quicker and cheaper, "flat top" shouted out at me. Then it was a case of getting me thinking cap on. How could I make the best flat top guitar? One that I liked, one that would do what session players wanted? That's when you think and think and think about an issue. It's often only when you stop thinking about it that the solution comes up, but that's only because of the hours you've spent thinking about the problem has created the conditions for the answer to arise. How do I quantify success? First, do I like it? That's the most important, 'cos if I dont, what's the point? This job doesn't pay enough to do things that don't interest me. Then, does it sell? You can spend loads of time working on a design, but if no one cares, you're just indulging yourself. The Session King is quite a commercial design really, because lots of people want a loud guitar. And it's affordable. And I really like them. I still like the shiny posh ones I do, but I actually like the "lived in" look. N |
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Post by nkforster on Mar 16, 2015 19:46:57 GMT
Do you think your guitars are more suited to any particular style of playing? Hard to say. Ian Stephenson plays with a pick and makes my guitars sound amazing. Tom Fletcher finger picks and makes then sound amazing too. I play wih my thumb, and tend to make every guitar I play sound the same! Most of of my customers play what could be called "Celtic" music or this newish genre, "modern fingerstyle." A lot, but not all play in Dadgad or open tunings. But when I play, it's more like traditional dance band playing which is basically simple jazz. I suppose one of the things I try to do is make an instrument that offers no obstacle between you and your music. You'll be limited not by the guitar but by your own tecnique, mind, not everyone wants to be in that position. That's one of the reasons why I prefer clear guitars with a lot of separation. If you look for warmth you can find it, if you want power, it's there. But if you make more traditonal sounding guitars that are naturally warmer or softer, it's very hard to achieve anything like the same power and clarity regardless of your right hand tecnique. The results then can be limited by the guitar, not by the player. hope that helps. n |
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Wild Violet
Artist / Performer
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My main instrument is: Symonds OM-14
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Post by Wild Violet on Mar 16, 2015 20:40:15 GMT
Thanks - I am a pretty heavy handed rhythm player and flatpicker. Most of the British made guitars I have played seem to be made more for fingerpickers and Celtic, as you say. My playing sounds muddy on those kind of guitars. I tend to like the sound I get from straight braced guitars. I'd love to try one of your dreadnoughts.
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Post by vince on Mar 16, 2015 22:21:48 GMT
Very interesting interview with some great insights. Thanks Nigel. I've sent you an email through your site about the Session King prices: Very intriguing. Love the comment about being restricted by technique rather than the guitar. It may be an uncomfortable place to be at times but probably the great way to keep pushing yourself along.
Cheers
Vince
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Post by earwighoney on Mar 16, 2015 22:25:11 GMT
Thanks to Nigel and Martin for the great interview. I really enjoyed reading it. It's a delight to be able to access the minds who construct the guitars we love so dearly.
I have quite a few questions so here it goes...
I read something in the mailout for your Session King guitar, that guitar builders can over engineer guitars? Is that something you worry about? From the perspective of an enthusiast as myself I've noticed your guitars are quite innovative in their designs, using the bridge as an example, there was the very long bridge to the more Tele style bridge. Have you ever thought 'Enough is enough with the complex engineering aspects, I'm going to build '52 butterscotch Telecasters from now on'?
I've noticed your guitars tend to avoid Martin sensibilities, have you ever considered building a vintage inspired scalloped X braced 12 fret 00 or something?
I've asked you about bracing, being ladder bracing, laminated Larson Bros bracing and you used to offer standard X bracing and laminated bracing for your guitars but you no longer offer it. Would it be possible to ask what kind of bracing pattern you use now and what lead to it's inception? Also how important do you consider the bracing to be? As an enthusiast, I myself consider the bracing to be 'the soul of the guitar', however wrong that might be!
I read the Session King/Howe O, have 'fruitwood' bridges; would it be possible to ask what kind of fruitwood was used - is it plum? I noticed Lakewood have started offering plum for bridges now.
I've noticed your guitars seem to be short of of '42/45' style adornments, would you ever build a guitar with pearl/abalone? (I myself despise that kind of stuff...)
I quite like the idea of using European woods over rainforest woods, not just to appease the occasional inner hippy in me but I think there are some really interesting European/Non rainforest woods around, including Yew, Cypress, White Oak, Walnut, Black Locust, Persimmon, and Osage Orange (which I see you provide as un upgrade) from the States that have great sounds in their own rights. I've noticed all the guitars (until the Session Kings) tend to favour the Rosewoods, would you like to make more guitars with more 'sustainable' tonewoods? Which leads to my question, how well stocked is your wood locker? Do you ever suffer from the luthier counterpart to GAS (Guitar Acquisition syndrome) which is WAS (Wood Acquisition syndrome)? Do you have a favourite tonewood for the soundboard and for the back and sides? A question I ask as if I was to take the route of a commission in the future I myself would ask what the builder what their favourite choices are and proceed with that instrument.
I've not noticed there is no 12 string guitar in your line up, have you ever built one or do you plan to? (I love the 12 string)
What do you see to be the future of guitar building?
It was mentioned that if any contemporary guitarist could play one of your guitars it would be Johnny Marr. If any deceased guitarist could play one your guitars who would it be?
What is your favourite flavour of crisps? Or type of cheese?
One of my favourite Smiths songs is the following, do you have one?
'Scratch my name on your arm with a fountain pen....'
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Lovely photos, too, which is always nice.
Jo whoever he is.
