Guest Photo | primuz | “Guitar”
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All content ©2008 primuz. Used with permission.
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Randy Lucas | 1999 | Kenny Smith Model
Randy Lucas builds some of the finest prewar inspired flattop guitars out of Hope, Indiana. After impressing vintage guru George Gruhn with only his 6th guitar, Randy has gone on to refine and improve his design and techniques.
In an earlier interview, Randy stated “I have a deep love for the sound of vintage Martin guitars from 1928 to 1945; that was the sound I was going for and that was the design I chose to start with, That was my textbook.” Indeed, his explosive, immensely rich dreadnought guitars have gained widespread acceptance amongst the bluegrass community.
*Click on Images for large, high resolution versions.*
This guitar is named after Kenny Smith of the Lonesome River Band and is one of the 21 built in the series. Speaking of the KS model, Kenny himself said “Acoustic guitar is a monster as far as getting the sound and volume out of it, but this Lucas guitar is something else. It’s the best old-sounding new guitar I’ve heard.”
The guitar is a reproduction of Kenny’s 1935 Martin D18 to the extent of using an original C.F. Martin steel T-bar instead of an adjustable truss rod for neck support. Additionally, Randy even air-brushed the modern ivoroid tuner buttons and custom-ordered tortoise binding blanks to match original binding pattern on Kenny’s guitar.
The one departure is the lack of scalloped braces. This was specifically done to produce a balanced voice, reducing bass wolf notes and overtones during recording or performing with microphones.
This particular guitar is a 1999 model serial number 043. It was built 08-24-99 and is signed by both Randy Lucas and Kenny Smith. It is in excellent condition with only minor playwear on the guard and is accompanied by a letter from Kenny Smith himself (who owned this guitar)-dated May 10th 2000.
I describe this guitar has having perfect pitched overtones over balanced and explosive fundamentals. With the wider nutwidth, it is perfect for both flat as well as fingerpicking.
Specs:
Top:Adirondack Spruce Top
Bracing: Non-scalloped Adirondack bracing one inch from the sound-hole
Construction: Hide glue
Back and sides: Mahogany
Fingerboard: Ebony with Lucas Logo
Nut width: 1.75″
Twelfth fret width: 2.25″
Scale Length: 25.5″
Neck: Vintage shaped Mahogany
Truss rod: Non-adjustable Vintage T-Bar
Bridge: Brazilian Rosewood with long saddle
Binding: Tortoise
Purfling: Wood
Headstock: Brazilian rosewood overlay Abalone Torch inlay
Tuners: Waverly Vintage with Ivoroid buttons
Fixtures: Fossil Ivory nut, saddle and bridge pins with Abalone inlaid dots
Case: OHSC
Links:
Randy Lucas Guitars http://lucasguitars.com/
References:
David McCarthy- AG gearbox
David McCarthy- Bluegrass Unlimited
©2008 Terence Tan.
KEN BONFIELD| 2008 | Interview & review|
Ken Bonfield has always been on list of top guitar players from his 1999 inclusion on Lights out and his work on PBS and NPR, his artistry and mastery of various styles is evident in his work. I was really priveledged to be able to interview Ken and post up some MP3s of his excellent playing!
Do stay tuned as Ken gives us an exclusive lesson complete with Tab!
| Black Dog | – I was immediately reminded of Stefan Grossman and John Renbourn at their best with this bluesy-folk tune. If you like Bermuda Triangle Exit, you’ll apprecite this tune!
| Getaway | – A slow aire in the Celtic vein, this slowly evolves into a melancholic masterpiece.
More sound clips at the end of the Interview.
TT- Ken, whenever I’ve heard your pieces, you always sound like you were born with a guitar in your hands… but really how did you start out with the guitar?
Ken: The short answer is that I didn’t start playing guitar until I got one for my 19th birthday, 34 years ago. I dove right in, started playing about 3-4 hours a day, mostly Gordon Lightfoot, Jackson Browne, and John Prine.
TT- So it’s practise practise practise?
Ken: More like play play play. I don’t like to call it practice much, I think it makes it sound like work, and I’ve always played the guitar because I enjoyed it. The fact that others seem to dig what I do is cool, but I’d be playing regardless That said I do manage to get my fingers on a guitar 2-3 hours all the time and quite often 4-5 hours a day
TT: So do you have a fixed practise routine?
Ken: The short answer is no. There’s no daily routine, per se, but I always play some scales and do some excercises, work on whatever new tune might be appearing on my guitar and experimenting. It’s funny, but since I don’t tour like I used to 35-40 weeks a year, and I’m selective about gigs, I spend most of my time ‘noodling’ trying to find new pieces or find new twists in old material.
I don’t really put together a show until about a week out from the show; my fingers are always in good shape, and it seems that the shows stay fresh. I can pretty much dust off anything and perform it inside a week. If there’s anything fixed about my practice it’s that I really always try to find something new every day.
TT: And you have anything to inspire that new found music?
Ken: Guitars inspire me. New guitars, old guitars, guitars strung with different strings or tuned to a new interval, all that jazzes me up about the guitar. A new tuning, anything can really trip the creative piece.
TT: So different flavours of guitars for different music?
Ken: That really hasn’t been true until lately. At one point I had 3 acoustics, not really a lot for someone who does what I do, and they were all really good guitars, but I realized that they all did the same thing pretty much; they were different versions of the same thing.
So, I got rid of one, a Santa Cruz, and then modified a Carruth OM to be a High string, then tuned a Carruth OM down a whole step in standard and put heavier gauge strings on it, then I got a Carruth Baritone that I tune C-C in standard, then up for alternate tunings. So my three main guitars now are all very different, the each have their own palette of colors.
I’m taking this a step further. To celebrate my birthday I got a nice little Breedlove 12-string and a Regal Roundneck Wood Bodied Dobro. If things go well with the 12 I’ll probably ask Al Carruth to build a Baritone 12 for me.
TT: wow, that’ll be some guitar! You seem to have a close relationship and an affinity for Al’s guitars…
Ken: Al is my guy. There are many wonderful luthiers out there, but Al just seems to build Ken Bonfield guitars; they all have balance, but sound big, and the trebles on Al’s steel strings just sound fat. I can’t tell you how many times people think I’m playing nylon strings, but I’m not.
His guitars are also really comfortable for me; I’ve had problems with carpal tunnel and tendinitis in the past, but I can play for hours on Al’s guitars and feel fresh and pain free; part of it is the set-up I’m sure, but his guitars are very ergonomic.
It’s very cool to be able to work with someone who really understands how I hear guitar, and what I need the guitar to do. He’s very patient, he’s come to visit me and talk to me about what I want; it’s really an incredible relationship. I’m very lucky.
| Opal’s Delight | – Jaunty fingerstyle with melodies you wouldn’t necessarily expect in such a piece. A great composition altogether.
| Stealin’ | – Blues-ragtime piece with those great ascending bass tones.
Links:
Ken Bonfield http://www.kenbonfield.com/
Al Carruth Guitars http://www.alcarruthluthier.com/
©2008 Terence Tan.
Pictures & MP3s courtesy of Ken Bonfield – ©2007-8.
Guitar Armrests | Feature Article | Part 1: After Market Rests
Guitar Armrests are designed to provide a comfortable surface for your playing arm to rest on. At the same time, it also lifts the arm off the top of the guitar. This provides three things. Firstly increased comfort (vs. edge of the binding) and reduction in body contact hence, damping of the tone and finish damage from perspiration.
Guitar Armrests come in 2 flavors: After Market and integrated armrests. I will write about the After Market Armrests in this part and the integrated versions in the next installment.
The After Market armrest is designed to be installed after the guitar is built and purchased. There are armrests designed to be permanent/ semi-permanent – such as that manufactured by John Pearse and those which are easily removable after each use- such as the Plenosom armrest. I will look at the most common armrests: how they work and if they work.
| John Pearse Armrests |
The most common armrest used by steelstring players is the John Pearse. Made of wood, these devices are designed to be attached to the edge of the lower bout of a guitar with an adhesive. Although it can be removed without damaging the instrument, the fixture is likely to be a permanent one as removal and reattachment can require a repairman’s know-how. The armrests come in a variety of sizes and styles, including left handed. Costs: US$30-35
The armrests are marketed primarily to improve tone by reducing body contact is “By placing your forearm on the top of the guitar, you lose between 15% and 20% of the power and projection of the top of the guitar” the official documentation proclaims.
I’ve been using these armrests for a number of years so I can attest that:
1. Installation is simple. The templates provided on the website allows for ‘fitting’ before ordering and the installation was a breeze, pull the tabs and apply pressure for a firm, solid fit.
2. The rests are comfortable. When installed over the lower bout of a 16″ small jumbo they do allow me to play for longer than previously. This is due to more gentle curve of the armrest vs. the body and binding which would often cut into my circulation.
3. Improvements in tone are subjective but I do detect a small increase in volume and projection.
4. Reselling a guitar with a Pearse Armrest is always a little more difficult as almost everyone who is interested in the guitar will hmmm and ahhhh over the installation and removal. I usually remove it before resale. There may be a lighter spot over the installation site, but unless you play out a lot this is usually not very noticeable.
5. Removal is best performed by a professional. Although I’ve taken out many armrests by myself with a small scraper and a bit of heat, I definitely view this a job for the experienced or professional. Quite a lot of damage to the finish can be inflicted on removal if not properly done.
Summary: Cost effective tool for increasing comfort and tone although the attachment is best thought of as permanent and may affect resale.
Link: http://www.jpstrings.com/armrest.htm
| Plenosom Armrests |
These devices are manufactured by Brazilian duo Tessarin & Bellinati. These are more common amongst the classical guitarists it was designed for.
These are also made of wood, but designed to be easily removable. They attached to the side of the guitar via suction cups and a overhanging wood fixture provides the ‘lift’ off the soundboard. The armrests are available in one style and size- due to the construction, no ‘fitting’ is required. Cost: US$40
The armrests are marketed as tools to improve tone, comfort, “right hand technique and accuracy” and reduce damage to French Polish (a Classical guitar trait…)
I’ve using these armrests periodically on vintage guitars which I cannot out of good judgement attach a John Pearse armrest. My impressions are:
1. Installation is simple. The suction cups do stick rather well and there is no fitting involved. You just approximate where the ideal position is and adjust from there.
2. The rests are comfortable- may more so than the larger Pearse sizes if you are slim of build and appreciate the thinner rests. But certainly the smaller Pearse sizes are equally comfortable.
3. Improvements in tone are subjective but like the Pearse armrest I do detect a small increase in volume and projection. Certainly my technique didn’t improve- but I’m not a classical player as I can hardly comment! However, like the QT armrest, in the classical position, I found I didn’t need to rotate my wrist to achieve the optimal angle.
4. Problem: the suction cups have an habit of detaching during inopportune moments. Usually during the climax of a gig. My suspicion is that the Classical players this device was intended for never really go for the Pete Townsend ‘windmill move’. Okay I exaggerate- it was during heavy strumming and moving about but I can it functioning perfectly well during a recital.
Summary: A perfectly functional tool for who it was designed for: Classical Players. Because Bellinati is Classical player, whereas John Pearse plays steel strings, we see several differences in design: slightly less robust attachment system, the one size fits all philosophy and even the documentation (French Polish anyone?)
So, the suction cup system works for those who sit relatively still and play and the increased comfort level is always nice. It is a little more expensive and fiddle-y compared to the John Pearse models but it is a non-permanent fixture which will not affect future resale.
Link: http://www.bellinati.com/plenosom/index.html
| Cumberland Armrests |
Cumberland Armrests are devices are manufactured by Steve Smith in Nashville. These are made of ebony, and like the Plenosom armrests designed to be easily removable. They attached to the top and back of the guitar via a clamp system and a overhanging wood fixture provides the ‘lift’ off the soundboard.
A layer of cork under the armrest and the clamp protects the finish from damage. The armrests are available in one style and size- due to the construction, no ‘fitting’ is required. Cost: US$50
The armrests are marketed as tools to reduce finish wear and tone
I’ve using these armrests several times. My impressions are:
1. Installation is more complex than the other systems. The clamping mechanism requires fine tuning with a tool and the end result is always slightly worrying
2. The rests are comfortable- but not nearly as comfortable as the other armrests- the wooden portion doesn’t quite allow my arm to clear the edge of the lower bout and there is no curve to support my arm.
3. Improvements in tone are subjective but like the Pearse armrest I do detect a small increase in volume and projection.
4. Problem: I found attaching the clamp an exercise in worry… did I clamp too hard? Is it too loose? Will it slip? If it tighten anymore will I induce a crack?… you get my drift.
Summary: A tool worth considering but clearly not my first choice in terms of it’s price. It offers the advantages of a removable fixture but the installation is a bit of pain.
Link: http://cumberlandacoustic.com/_wsn/page7.html
| QT Armrests |
QT Armrests are the brainchild of Classical guitar player David Qualey. These Alder wood armrests are designed to be easily removable. They attached to the side via a three suction cups. Interestingly, there is no overhanging wood fixture, but relies on the wooden support on the side to lift your entire arm over the soundboard.
A layer of cork under the armrest and the clamp protects the finish from damage. The armrests are available in one style and size- due to the construction, no ‘fitting’ is required. Cost: Euro56 (US$87 approx at current exchange rates)
The armrests are marketed as tools to improve comfort and improve playability… the blurb on the website reads: “What few realise is that the normal body of a guitar is too small for our right arm to hang easily over the top and be the right distance from the strings. Now with the help of the QT armrest your arm can rest gently on the rounded form of the QT, and at the same time you have increased the distance to the strings in a positive way”
I’ve using these armrests several times. My impressions are:
1. Installation is very simple. Press- hold- let go.
2. The rests are comfortable- despite the lack of a curve to support my forearm, I feel these are as comfortable as the other armrests with the gentle side curve to hold my upper arm upwards.
3. Improvements in tone are subjective but like the all the other armrests I do detect a small increase in volume and projection. I did not detect much of difference in my angle or distance of attack, but in the classical position, I found I didn’t need to rotate my wrist to achieve the optimal angle as in the plenosom.
4. Problem: like the Plenosom, the armrest had a habit of popping off with vigorous use.
Summary: Although not as finickly as the Plenosom, the QT armrest has more benefits for the Classical than Steel String player. Still something I have used for smaller vintage guitars when I can’t attach a Pearse.
Link: http://www.david-qualey.com/QT%20Armrest%20Pages/QTArmrest.html
| ROUND UP |
These arm rests offer something for everyone and I feel it is a personal choice on the part of guitarist. I do have several recommendations though:
1. John Pearse- suited for a player who is looking for a permanent solution and not that bothered about resale.
2. Plenosom & QT- Ideal for classical guitarists and a good solution for delicate vintage instruments. The QT is more expensive for US players, but around the same for those in the EU once tax enters the equation.
3. Cumberland- Half way between the 3 designs above. Good for those who need a secure easily removable armrest.
Links:
Plenosom Armrests http://www.bellinati.com/plenosom/index.html
Cumberland Armrests http://cumberlandacoustic.com/_wsn/page7.html
QT Armrests http://www.david-qualey.com/QT%20Armrest%20Pages/QTArmrest.html
John Pearse http://www.jpstrings.com/armrest.htm
©2008 Terence Tan.
Pictures © individual parties.
A L A N | D U N W E L L | 2 0 0 6.
Luthier Interview
I initially met Alan at a guitar meet in the UK where he displayed some stunning guitars, with a clean aesthetic and a very lively tone- certainly one of the livelist guitars I ever played was a Dunwell!
TT – Alan, last I saw you was at the UK7 meet in Buxton, UK. How did you find the whole experience?
AD -I was both pleased and impressed with the gathering at UK7. Pleased because it was such a friendly and informal way to meet and put faces on the RMMGA handles that I’d chatted with in the news group. I really was ready for a vacation about then and the UK7 was just the medicine I needed. And how could one not be pleased with Hargate Hall, what a wonderful setting for a bunch of guitar nuts. I was impressed with the overall high quality of the players and the seriousness with which they all approach their craft. This was true of not only the professionals but of folks that simply play for their own pleasure.
The structure was a bit different than other stateside gatherings I’ve been to in that it is more organized and included more professionals doing sets, but it fit well and went off smoothly. I can’t imagine all the behind the scenes things that Peter, Chris, and Alan did to make this such a successful weekend. So in general how did I find the whole experience, absolutely top notch I’d
say.
TT - How did the European guitars differ from yours terms of construction?
AD - Not a lot that I could see, in terms of overall construction but I didn’t go peeking around with a mirror either. I think that the European guitars tend to have a double dovetail joint for the neck as the default while mine is a bolt on mortice and tenon joint. I will do a dovetail but only if requested. The bolt on M&T is so strong, the joint provides the alignment and the bolts just anchor it, only the fretboard extension is glued. The other thing that I noticed is that it seems that the tops on the European instruments I was seeing are a bit thicker than what I use. I’d have to measure to be sure. They also seem to be more in favour of a low gloss or matte finish. Just different cosmetic preferences there I guess.
TT – Back to some basic questions, when did you start building?
AD – I began general woodworking when I was just a tad, we used to get tools as Christmas presents, I still have some of them. I began building for myself when I was in high school but those were pretty crude. Once I was out of the service and settled in Colorado I set up a shop in a back bedroom and started making some better guitars for myself and friends and doing more research into different ways of building.
TT – What led you to on to luthiery?
AD – The initial thought was that I could build one cheaper than I could buy one. Wrong! There were lots of cheap guitars around and my first attempts were costing around $400 at least by the time I was getting an instrument that I was satisfied to call a guitar. What I soon found out was that I could build a better guitar than the cheap ones and that expanded my thinking. I found that I greatly enjoyed the process and liked the ‘left brain’ side of it in trying to understand the acoustics and plate vibrations.
TT – And to become a full time luthier?
AD – Actually I’m not a full time builder, I currently work at it only about 1/3 time. I have a full time day job as well that I have been doing for years. I am the software manager for a raw physics research and development lab. It is a joint venture between the University of Colorado and NIST and I keep the software organized and working for the folks doing the actual science. Very fun job, always something new going on. I will probably be swapping the roles here in the near future though and go part time at the lab and maybe ramp up the guitar building a bit. We’ll see. I still prefer to build slowly and evaluate each instrument as I go, I’m not a volume kind of guy.
- SINCE THEN-
Since the interview in 2006, Alan is now using a straight blot-on neck and has developed the use of double tops- which are 2 thin top layers sandwiching a nomex honeycomb structure- a system he feels that the “advantages that are noticed are a clarity of the individual notes, much more sustain, better balance, and an improved projection in front of the instrument. Even small bodied instruments can fill a room with ease.”
I caught up with Alan more recently and he says: ‘ Also, I am now heavily involved in the double-top construction and I seem to be the answer man for everyone that is interested in building double tops, including some folks from Martin Guitar that called to chat. I am now working part time at “The Day Job” and have expanded my building to include more mandolins and now Irish bouzoukis.”
Links: Dunwell Guitars http://www.dunwellguitar.com
Acknowledgements: Alan Dunwell
Content ©2006 Terence Tan.
Pictures courtesy of Alan Dunwell- © Used with permission
