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Post by nkforster on Nov 10, 2014 19:09:58 GMT
NOT parcel2go.com They are another site like interparcel who act as broker for several firms like UPS then sell insurance on top of the service. They only cover guitars up to £1000 (costs£47) and that turns out to be up to £1000 for it being lost or stolen. If they smash it to pieces they will only pay out £100. Nice. Nigel www.nkforsterguitars.com
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Post by nkforster on Nov 3, 2014 9:54:02 GMT
Over the years I've taught quite a few folk guitar, and so far the younger they have been the easier it is. Mainly because the older students have been more specific about what they want to learn and how they want to learn it. Doing what they want isn't always appropriate or even beneficial. Usually because they're wanting to run before learning to walk. It's tricky. The customer is paying, so you want want they want, but what if you're in no way ready for what you want? One student came wanting to play some pretty complex jazz but wasn't able to do even basic chord substitution. That had to come first, but it wasn't what they wanted. They didn't come back, frustrated with my unwillingness to give them what they wanted. It's much easier with kids, as they've been more open to just practice what I give them, and the ones who have practiced have realised I've given the tools to teach themselves by being able to listen to records and hear certain patterns, and have a good idea how to know what voicing a player might be using. Back to the thread: as others have said, YouTube is great for getting the chords to a song, but it's not great for learning how to listen. That's possibly the most important tool to have in the toolbox. Sometimes you might feel you're not getting much for your money when all the teacher has done has made a few comments and played a bit, but in the end all they can do is show, explain, correct and encourage. But in order to do that, in order to make the right comments, in order to show you where you're going wrong it can take years of practice. So that "useful" comment might only take 10 seconds to say and two minutes to show, but it might be the accumulation of thirty years of playing. Im not sure you can get that so easily from DVDs or YouTube. Nigel www.nkforsterguitars.com
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Post by nkforster on Nov 2, 2014 10:40:40 GMT
Do we have one of those "smiley face" things that looks like a pair of bo****ks?
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Post by nkforster on Oct 28, 2014 19:52:03 GMT
This is , probably, a real chestnut for luthiers but I'd like your opinions as modern building techniques must surely have a bearing on the question. So what are advantages of the pin design ? My feeling is that it's possible to make a much lighter bridge with pins. Pinless designs can be rather massive. Mind most traditional designs with pins are massively over engineered so usually there is little in it between the two, mass wise. If you've ever seen one of my bridges, they tend to have a rather large footprint but apart from the area supporting the saddle, the "topography" is rather low. This wouldn't be possible with the pinless design. Nigel www.nkforsterguitars.com
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Post by nkforster on Oct 28, 2014 19:39:44 GMT
I think I've read that Nigel Forster has mad some guitars with Brazilian Rosewood back and Indian Rosewood sides - he may chip in here.I've seen one guitar made by another makers with different woods in both the back and sides. There's no reason not to mix them up ans with the right wood combinations it would look and sound great. Yes, I've made a lot of "mixed" guitars. Usually it was Brazilian sides with an Indian back. Sometimes the Indian back was 3 piece and had a central strip of Brazilian. A few years ago it was my commonest upgrade. Wish it still was, I really liked Indian/Rio mix guitars. The only images I have are on the PDF available on my website... I turned all my old blog posts into a free ebook to newsletter subscribers. Anyway, they sound and look great. Dark rio sides with an Indian back look very smart. It's certainly proven to be a very economical yet noticeable tonal upgrade.
Nigel www.nkforsterguitars.com
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Post by nkforster on Aug 26, 2014 13:54:34 GMT
This is always an interesting one. Which players really "got you" in the past and still influence you today? For me it was my Grandfather who taught me guitar every Sunday afternoon after he'd been to the pub when I was a bairn. I've no recordings of him, but I can hear his style and his tone in my playing all these years later. The closest I've ever heard to him is Perrie Willie the late great guitar player from Shetland. Here he is: its not so surprising they're similar, as both were born a similar time and both very influenced by what they heard on the radio - Eddie Lang, Django and such. Like Willie, my grandfather Charlie played in "dance bands" where they would play whatever folk wanted, a waltz, a bit of swing, a march, whatever.... Anyway, So that's mine...who are yours? nigel www.nkforsterguitars.com
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Post by nkforster on Aug 23, 2014 10:08:08 GMT
When I get back from me travels I hope to get Ian Stephenson to make a video with my H-O, it's great! Nigel www.nkforsterguitars.com
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Post by nkforster on Aug 23, 2014 9:58:14 GMT
Actually, I did buy a guitar about two years ago, but that's another story.... and one that clearly needs to be told, Nigel ... come on, out with it Haha! After 15 years of searching and several near misses I finally bought a Howe-Orme, in fact, that year I ended up buying two, one Rio/adirondack one, roughly 00-18 size, and a mahogany/spruce parlour which is still in bits. The Rio one is quite possibly the best guitar I've ever played....and I've played a few in me time! nigel www.nkforsterguitars.com
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Post by nkforster on Aug 23, 2014 9:55:02 GMT
Sorry Robbie. I tend not to buy guitars. But it's very good news for Mark that Fylde, Brooks and the others are doing such good value work. There is a good chance he would be able to "try and buy" too without having to order, as both companies supply shops I believe. Actually, I did buy a guitar about two years ago, but that's another story.... nigel www.nkforsterguitars.comNo worries Nigel. I just think that, by your own admission, you do not buy guitars and have no idea what folk are charging, so to make a sweeping statement that good quality guitars cannot be bought for less than £2k is maybe a bit risky and maybe just middy offensive to those of us (maybe the vast majority of us on here?) that do not own guitars at the sort of prices you are charging. Its an interesting discussion at least, and I hope you realise I'm not really offended! My view is that I can make just as good music on my Brooks as I can on a guitar costing twice the price. And I know that because I've tried lots and lots of guitars twice the price and more Robbie p.s if you do a search ion the forum you will come across a great many players who are making fantastic sounding music on reasonably priced guitars- try Phil Taylor (PCT57), Keith (Carolan), Mark Thomson, and Dave White for starters. (Apologies to anyone I left off, the list was not meant to be exhaustive!) Right, I think I see how the misunderstanding happened. You read "you can't get a good guitar for under £2k" when what I wrote was "I'm not sure if you can get a decent handmade guitar for £2k, but then I've no idea what other folk are charging." It's a pretty good example of how things go bad quickly on forums. I had no idea you can get a UK guitar for this money. That's the point I was making. My poor English. No harm done. nigel www.nkforsterguitars.com
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Post by nkforster on Aug 23, 2014 9:11:58 GMT
Commission a luthier I'm not sure if you can get a decent handmade guitar for £2k, but then I've no idea what other folk are charging. There are many gifted amateur makers keen for work so you might want to have a look on their forums. Incredible Keith's advice is good, Brooks represent very good value, as do Moons and Fyldes. Check out www.theshadygrove.co.uk They currently have in stock 3 incredible sounding Brooks, a parlour sized Weaver, which is their new model (and totally awesome), a Mahogany Torridge, and an absolutely wonderful second hand (but hardly played) Tamar (complete with the most wonderful flamed mahogany and Highlander pickup, and dead easy to play). Robbie Sorry Robbie. I tend not to buy guitars. But it's very good news for Mark that Fylde, Brooks and the others are doing such good value work. There is a good chance he would be able to "try and buy" too without having to order, as both companies supply shops I believe. Actually, I did buy a guitar about two years ago, but that's another story.... nigel www.nkforsterguitars.com
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Post by nkforster on Aug 23, 2014 8:25:53 GMT
Thanks nigel... that makes complete sense. You're either an "under the bonnet" type, or a "body panels" type, or a bit of both. I guess from my limited reading it appears that a fair bit more attention is given to the materials shaping tone as opposed to the under the bonnet stuff. It's fascinating to get your perspective, particularly your ability to shape/structure European spruce to get the different tones you aim for. Less variables = more control indeed I said it to you privately but I'll say it publically too... your A model looks and sounds superb. All the best, marcus Part of the issue is it's probably easier to think of sound being shaped in terms of material choices. So "Sitka sounds like this" and "cedar sounds like that" is a simple way to look at how sound is shaped. To some extent it is useful, especially when comparing instruments by one maker. Then we can compare similar designed work. But when we start comparing the work and results of different models, and different makers and draw conclusions about materials, pretty soon we are in "apples and oranges" territory, so it becomes less accurate and less useful. Back to the thread: Mark, one of the reasons Sitka is so popular for factory guitars is it's not that expensive, stable in service and it looks the part. Some makers love it, I've never used it so can't say much about it. As for "boringly ending up with 3 cedar guitars", I wouldn't worry. Follow your ears, for some reason they seem to have a decent connection to the heart when it comes to music. Nigel www.nkforsterguitars.com/steel-string-guitar/#
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Post by nkforster on Aug 23, 2014 3:11:54 GMT
Great post Nigel and I'm interested to hear that there is a much smaller market for smaller guitars than for their larger siblings. Personally I always go for something smaller and from looking around on the forums there seem to be more folks who are looking for something smaller as their fingers and shoulders (if not their spirits) age. But then in terms of absolute numbers you are spot on... there do seem to be plenty more 'big" guitars out there. I appreciate your insight into different luthiers getting completely different tones from the same wood. But do you personally find that different species of top wood (let's say spruce) make much difference to the tone you get from your guitars? All the best, marcus You could say that whilst I experiment a lot with structure, I'm something of a "tonewood conservative." I tend to use (for steel string guitars, finger style or otherwise) European spruce. Then I play around with what's going on under the bonnet, and the shape of the soundboard itself to get the results I'm looking for. That's because I know the material very well, well enough to know how it varies, what it can do and what it's limitations are. I have made a few Western red cedar topped guitars and I like them very much, and so far the notion of them being "open" from the start seems to ring true, so for someone in a hurry, that might be a good option. But tonally, because of the way I build you couldn't say they sounded like someone else's cedar guitars, it just ain't that simple. A common approach though is for makers to have a design they trust and temper the sound by varying the materials. Some makers prefer this way of thinking. It's a valid approach too. As is playing with all these variables, but the more variables you play around with, the less likely you are to know how you've achieved your results. Does that make sense? Nigel www.nkforsterguitars.com
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Post by nkforster on Aug 23, 2014 1:47:10 GMT
It's been interesting following this thread, may I chip in? Now what you say about timber choices is interesting and reflects much if the stuff floating around the forums. It's hard to read all the info out there and not have it condition your preferences. You will find makers and players who agree with these views because their experience tells them so, but others new to the game may agree because they've been reading the same stuff as you. But in reality you can get many different results from different timbers and different makers. It's not possible to give ten luthiers, ten identical sets of timber and ask us to make ten identical sized guitars. But if it were, my guess is you'd have ten very different sounding, looking and playing instruments. It ain't about the wood! Size: I would suggest the lack of choice for good small guitars is down to supply and demand. In short, it's hard to get customers to pay big money for small guitars. That's why you're probably struggling to find anything. It's easy to sell a parlour for £600, but try getting £2000+ and you can have a long wait. In a recent website reshuffle and declutter, I took my Model A (my parlour) out the catalogue, as although I love 'em, I hadn't made one for a few years. I would never make one “on spec” I have in the past, and they've taken too long to sell. They're a niche within a niche. Years ago I asked Paul Heumiller at Dream Guitars in the US what sells and what doesn't, when making a guitar to sell “on spec” in the price range my work sells. Top of the list for what doesn't sell? Small guitars. That doesn't help you though.... With a 2k budget you're a bit between a rock and a hard place. You have a few options: Buy used. Not only are luthiers and factories competing against each other we're competing against every other instrument we've ever made too. So there is no guitar shortage out there. The problem is when you narrow down the spec to certain timber species and smaller sizes, as you say, there isn't much to choose. Finding a decent small guitar to meet your spec could take time. Finding a decent small guitar that pleases your fingers and ears might be easier. So if size is a deciding factor for comfort reasons, maybe put “which timber is best?” to one side and just keep trying as many small guitars as you can. Commission a luthier I'm not sure if you can get a decent handmade guitar for £2k, but then I've no idea what other folk are charging. There are many gifted amateur makers keen for work so you might want to have a look on their forums. That way you can have exactly the spec you want, but that's no guarantee of the sound and responsiveness you'd like. You're still stuck with the wait and there is the additional issue you've touched on of “what if you don't like it?” Ex demo and “available now” I realised years ago that some people are just not suited to the whole “commissioning” process yet still want a hand made guitar. That's why many makers, including those with long waiting lists sometimes have something in the cupboard waiting for the customer who can't/won't commission work but who do want to buy. Then you get to go and try out a decent quality instrument and make a decision before you hand over your money. The only disadvantage of this is you'll be lucky to find the spec you want. “Available now” work tends to be what sells without too much trouble, ie: bigger. On the other hand, a maker might have had a burning desire to make a parlour a few years back (we all do from time to time) then not had a single enquiry for a parlour for the next two years. It might be a great guitar, but no one has asked for one. In case you're wondering, I don't! The other thing to keep and eye out for is makers who have an “ex demo” guitar for sale. They can be a little cheaper. When I have one, I don't advertise them until I have a new demo guitar I want to try, so ask about. But again, they're usually OM sized rather than 0-18 sized or smaller. My suggestion is twofold: #1 Email the makers you like, and ask them what they've got ready to go "available now.” If they have a mailing list, sign up so they can tell you when something comes up that might suit you. You never know. #2 ebay. It's a lottery for sure, but buying used and buying known brands means you should loose no more than the shipping costs and ebay fees each time you get one you don't like. And you never know, something great might turn up very quickly. Hope that helps. Good luck, Nigel www.nkforsterguitars.com
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Post by nkforster on Aug 18, 2014 10:50:22 GMT
I've a pal in Australia who is a very gifted amateur maker. He's left handed. He has quite a few left handed guitars knocking around the house. He might want to sell one. Shall I put the pair of you in touch? Nigel www.nkforsterguitars.com
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Post by nkforster on Aug 14, 2014 12:14:23 GMT
A few years back one chap emailed me asking for an instrument that had just about every “modern innovation” you can imagine in it. My impression was he didn't know much about my work – as whilst it’s certainly experimental, I don’t follow every single new design idea, unless it really interests me. So I was a little surprised he had contacted me with such a convoluted list of “innovations”. Needless to say the commission didn't happen - we just weren't matched. Great post Nigel, one small thing to ask are there any questions that are likely to be frowned upon by a luthier when asked by a customer seeking a commission? Appreciating that luthiers are flexible in their mindsets, but are there any particular areas which you yourself as a luthier would be reluctant to work towards? If Dave White and any other luthiers read this I'd be intrigued to their thoughts as well. 'Modern Innovations' are an interesting aspect in guitars, I asked a luthier if it would be possible to have a lacquer finish for one of their instruments in place of French Polish the luthier used to finish their guitars. The luthier was largely unwilling to use a lacquer finish, not from an idealogical perspective but from a practical one, the luthier did have the correct workshop facilities to provide such a finish, but as a customer this wasn't something I had an idea of until I had asked such a question. Its it's not really a case of questions being frowned upon, folk can ask what they like. Most makers know what information they need to glean from a person in order to get started, so the conversation will usually include those points. The difficult part comes if what a person wants is at odds with the laws of physics! Nigel www.nkforsterguitars.com
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