ocarolan
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Post by ocarolan on May 15, 2013 15:22:19 GMT
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davewhite
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Post by davewhite on May 15, 2013 16:45:31 GMT
Great article and a fascinating read. Well done Gary and Keith  |
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brianr2
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Post by brianr2 on May 15, 2013 19:26:20 GMT
Another really interesting and enjoyable interview. Thanks Gary and Keith.
It is fascinating to see the different routes by which the different makers reach their vocation (it seems so much more than a job for all of them).
I hope that Mr Whte is on the list to be "done" by one of our resident inquisitors.
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Martin
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Post by Martin on May 15, 2013 19:32:32 GMT
Excellent interview chaps It made really interesting reading and the photos were superb  I'm sure Mr White might see fit to grant us an audience in the not too distant future  |
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davewhite
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Post by davewhite on May 15, 2013 21:39:00 GMT
Gary,
A couple of questions for you.
Apart from a carved top mandolin are there any instruments you haven't made yet that you have a real wish to make at some stage either for yourself or as a commission?
Which instrument creation/collaboration has given you the most satisfaction and why?
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leoroberts
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Post by leoroberts on May 16, 2013 7:46:42 GMT
Cracking interview - again! These threads are one of the gems of this forum; kind of the 'perfect dessert' to go along with the main course of sharing and general tomfoolery.
Gary knows that I've long hankered after one of his Type 2 mandocellos (although I've yet to play it...)
Thanks, Gary, for taking the time to answer Keith's questions so fulsomely.
So, a question or 2:
1. With Phil Hare, Gary has a player who gets his instruments into the public domain - but it's a fairly limited public! If he were to choose an artist to endorse his work, who would it be and why?
2. Should Gary become a more well-known and 'sort after' maker would he be able to cope with increased demand for his instruments and, if not, what would he do? Take on an apprentice? Increase prices? Develop a waiting list? (that isn't a loaded question - I just wonder how a luthier manages demand!)
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Post by Deleted on May 16, 2013 13:33:44 GMT
Really enjoyed reading the article. I've never played a Nava but have followed all the videos on youtube, especially the development of the standard series. Any chance of a standard series octave mandola?
Robbie
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Post by rodders on May 16, 2013 15:45:14 GMT
Very interesting read. Well done to all involved  I used to own a Nava guitar, I think it was the older style Model 1 guitar. Lovely Walnut back. Wish I still had it  |
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Phil Taylor
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Post by Phil Taylor on May 16, 2013 18:02:02 GMT
What a brilliant read that was Keith and Gary The sound of that twin point mandolin is absolutely superb - MAS strikes again  Phil |
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garynava
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Post by garynava on May 17, 2013 7:19:49 GMT
Gary, A couple of questions for you. Apart from a carved top mandolin are there any instruments you haven't made yet that you have a real wish to make at some stage either for yourself or as a commission? Which instrument creation/collaboration has given you the most satisfaction and why? The carved top mandolin is a “must do” my flat-tops are great for most types of music but I’d like to make something that might appeal to bluegrass players too. Apart from that, I have a mental list of a couple of my “Standard Plus” mandolins that I want to build, using some interesting tonewood combinations; one figured maple and redwood and using quite a lot of snakewood and another with a macassar ebony body and a wenge neck, so everything apart from the top looks black. An octave mandolin is also on the cards and ideally a commission would kick-start that one! Can’t really answer the second one- I tend to put everything into whatever I do- always have done, always will- it’s personality trait! The instrument currently on the bench always tends to be my favourite! |
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garynava
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Post by garynava on May 17, 2013 7:21:18 GMT
Cracking interview - again! These threads are one of the gems of this forum; kind of the 'perfect dessert' to go along with the main course of sharing and general tomfoolery. Gary knows that I've long hankered after one of his Type 2 mandocellos (although I've yet to play it...) Thanks, Gary, for taking the time to answer Keith's questions so fulsomely. So, a question or 2: 1. With Phil Hare, Gary has a player who gets his instruments into the public domain - but it's a fairly limited public! If he were to choose an artist to endorse his work, who would it be and why? 2. Should Gary become a more well-known and 'sort after' maker would he be able to cope with increased demand for his instruments and, if not, what would he do? Take on an apprentice? Increase prices? Develop a waiting list? (that isn't a loaded question - I just wonder how a luthier manages demand!) 1. Phil is an exceptional player and apart from his appearances in folk clubs, in the UK, Europe and the USA, his videos on YouTube are much watched and greatly admired, so his guitar does get a lot of exposure and more importantly exposure to the type of players who are potential Nava owners. I’m not a great believer in endorsements; they normally involve a manufacturer giving their product away to someone who will readily drop you when the next good offer comes along. Phil paid the going rate for his guitar as did megastar Matt Bellamy. 2. “Well-known and 'sort after' maker” eh? I’ve long come to realise that being well-known or sort after has little to do with talent or quality but more to do with trends and luck. The world is full of highly talented craftsman, artists, musicians, writers, actors etc. who do what they do for the love of it and will never gain the recognition that they deserve. As I said in the interview, I like to work on every aspect of the instrument myself, so I couldn’t foresee a time when I would take on anyone to help me in the workshop other than my son or grandson, if they so wished. The waiting list would get longer (currently 9 to 10 months- the shortest it’s been for many years, due to the current economic situation), I’d work longer hours and yes, probably nudge the prices up to a more realistic level. |
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garynava
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Post by garynava on May 17, 2013 7:21:53 GMT
Really enjoyed reading the article. I've never played a Nava but have followed all the videos on youtube, especially the development of the standard series. Any chance of a standard series octave mandola? Robbie I want to build an octave mandolin or is it an octave mandola? Aren’t all these terms confusing! When I build one it will be in my “Standard” format for exactly the same reason as why I designed the Standard mandolin. Hopefully, it will have a 14 fret neck so there is room to use a capo on it and still have a decent bit of neck left. |
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garynava
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Post by garynava on May 17, 2013 7:22:29 GMT
Very interesting read. Well done to all involved I used to own a Nava guitar, I think it was the older style Model 1 guitar. Lovely Walnut back. Wish I still had it That one was unique, and pre-dates my Model 1. It had a 12 fret neck and was built to a shape that I only used twice- once for the walnut one that you had and the other was my resonator. |
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Post by grayn on May 19, 2013 5:38:48 GMT
Great interview, Keith and Gary.
Gary: I seem to remember that your guitars used to sport really large bridges. Was that something that you tried for a while and then "evolved"?
Love the look of your very early Martin/Ditson parlour. How does that sound to you now?
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garynava
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Post by garynava on May 19, 2013 17:06:25 GMT
Great interview, Keith and Gary. Gary: I seem to remember that your guitars used to sport really large bridges. Was that something that you tried for a while and then "evolved"? Love the look of your very early Martin/Ditson parlour. How does that sound to you now? Not guilty- I’ve never used larger than “normal” size bridges; quite the opposite, within its design limitations, I like to keep the bridge fairly light. The “Ditson” sounds pretty good to me- what you would expect from a very small bodied guitar, but surprising loud. The width of the soundboard and the position of the bridge limit what you can do with the bracing. Also the short scale (628mm) makes for a more relaxed feel, just right for entertaining in your parlour! |
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Jo whoever he is.
