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PostPosted: Tue Jan 10, 2012 3:47 pm 
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Looking for some wood combination ideas for a fingerstyle build.

I've seen Andy McKee playing hog/cedar and braz/spruce - but he also mentioned he owns a maple/spruce - which seems like completely different overtone worlds.

just looking for some starting suggestions to give to a customer of mine.

Hey Zootman - if you're out there, I tried to call you today to discuss this - but you were gone. I thought you might be able to help me on this.

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PostPosted: Tue Jan 10, 2012 4:04 pm 
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Redwood/Cocobolo

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PostPosted: Tue Jan 10, 2012 4:04 pm 
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Depends on the tone you're looking for of course, Paul.

If you can swing it, African Blackwood/redwood or cedar would be a really nice guitar.

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PostPosted: Tue Jan 10, 2012 4:11 pm 
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JimWomack wrote:
Redwood/Cocobolo


We just happen to have both of those in stock :mrgreen:

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PostPosted: Tue Jan 10, 2012 5:13 pm 
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If you would like to stick with spruce, how about cocobolo / Engelmann? Seems like Engelmann's warmth would compliment coco's clarity nicely.


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PostPosted: Tue Jan 10, 2012 5:21 pm 
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I just finished a 000 in engelmann and bubinga that sounds real nice..

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PostPosted: Tue Jan 10, 2012 6:17 pm 
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Define "fingerstyle". Okay, if you're talking stuff like Andy McKee playing "Drifting" then yeah...cedar or redwood on Hog or rosewood is great. Other stuff like a lot of what Tommy Emmanuel plays seem to work best on spruce and mahogany. It kind of depends on the specific music being played.
We had a listening session this past weekend at an NEL meeting, and a player was playing five different OM's of various combinations. Some of the music really worked on some while not as much on others. A different song, and it was entirely the opposite.

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PostPosted: Tue Jan 10, 2012 7:09 pm 
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Don Williams wrote:
Define "fingerstyle". Okay, if you're talking stuff like Andy McKee playing "Drifting" then yeah...cedar or redwood on Hog or rosewood is great. Other stuff like a lot of what Tommy Emmanuel plays seem to work best on spruce and mahogany. It kind of depends on the specific music being played.
We had a listening session this past weekend at an NEL meeting, and a player was playing five different OM's of various combinations. Some of the music really worked on some while not as much on others. A different song, and it was entirely the opposite.


Don, We're not getting much direction from our customer yet. All he is saying is that he is more of a fingerstyle player and wants something to compliment that style.

That's sorta like saying you like fast cars and want to know what kind of tires to buy.

I guess I should try to get more info from him to try to get him to narrow things down for me - but I do appreciate all the comments - as I am just looking for generalities at this point.

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PostPosted: Tue Jan 10, 2012 7:18 pm 
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Paul Burner wrote:
Looking for some wood combination ideas for a fingerstyle build.

I've seen Andy McKee playing hog/cedar and braz/spruce - but he also mentioned he owns a maple/spruce - which seems like completely different overtone worlds.

just looking for some starting suggestions to give to a customer of mine.

Hey Zootman - if you're out there, I tried to call you today to discuss this - but you were gone. I thought you might be able to help me on this.

Sorry about that Paul.

One of my favorite combos is redwood/walnut. We do have a couple of nice African blackwood sets that I would pair with Italian or Englemann. Last but not least by any means IRW/Cedar Just my opinion.

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PostPosted: Tue Jan 10, 2012 10:43 pm 
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Thanks Bob!

I'll be in touch.

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PostPosted: Wed Jan 11, 2012 2:14 am 
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Mongrain's Kingslight was Brazilian/Adirondack and played through the Pendulum Eq it sounds awesome. Very deep lows and wonderful overtones.


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PostPosted: Wed Jan 11, 2012 7:54 am 
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Andy McKee is playing two greenfield 6's right now .. A quilted maple/lutz, and a macassar eb/lutz. His harp is koa/lutz.

I recently finished an afr blkwood and sinker redwood ... its awesome.

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PostPosted: Wed Jan 11, 2012 10:18 am 
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Filippo Morelli wrote:
Said another way - if we both build a guitar with the same exact woods (impossible, obviously) we'd not likely end up with the same instrument ...

What does your customer do with the guitar? That's the first question to ask. Secondly, have you sat down with your customer and discussed ... what they like in the sound of a guitar, what they play, how they use the instrument? Some clients (many, actually) are often ill equipped to have this conversation. But feeling them out on it and guiding them through can help a lot. It is from this basis that I'd come back with recommendations. And it is also from that basis that I'd suggest coming to us for ideas if you don't have a strong set of existing recommendations.

Filippo


Thanks Filippo. I agree that 10 people given the same woods would have 10 guitars that sound different.

It is great to have the OLF here to help us gain the knowledge that Kyle and I need to keep getting better with each guitar we build.

Just curious - how many guitars have you built and how long have you been building?

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PostPosted: Wed Jan 11, 2012 12:17 pm 
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Any combination will work, some better than others depending on the players style. I have used Engelmann twice and will not ever use it again.
I am mostly a fingerstyle player, so if I were building for myself, which I will be soon, it would be sinker redwood on walnut.

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PostPosted: Wed Jan 11, 2012 12:19 pm 
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When I think of fingerstyle I think of wanting an immediate response and not necessarily a lot of headroom, so I think of a lighter, responsive top. Cedar would be my first choice to accomplish that, but you can certainly make a light, responsive top out of most spruces and redwoods too provided they aren't too dense.


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PostPosted: Wed Jan 11, 2012 12:56 pm 
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I use and like the combo of coco and cedar,when I have latitude and my choice. I have had good feedback on those guitars and tend to use that first. That said I have a 12 fret going with Malaysian Blackwood with an adi top. I have a walnut and cedar going and getting ready to do 2 with coco and spruce and 1 with Koa and cedar. I am doing them in those combos because the folks getting them wanted them that way.


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PostPosted: Wed Jan 11, 2012 1:03 pm 
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Filippo Morelli wrote:
Paul Burner wrote:
All of my composition work is fingerstyle (e.g. http://www.youtube.com/watch?v=srXs8tHEL1Y).


Wow Filippo - that was REALLY nice! Thanks for posting it.

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PostPosted: Thu Jan 12, 2012 1:54 am 
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I was actually listening to Doug Young's "Laurel Mill" album on the way home from work today and thought about how nicely it shows off the different shades of tone you get with different combinations. He used to have an article on his website about the guitars he used on each track, but I can't seem to find it. In general, I hear a lot of cedar in there.

If I were to make a fingerstyle guitar for myself, it would be cedar over any back and sides. Cedar has an intimacy, warmth and airinesss that always captures me.

Here are a few good Doug Young clips. One with cedar, another with Italian, and a third with what seems to me like another European variety. You can hear the intimacy of the cedar and the presence of the spruce.







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