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A C O U S T I C & C L a S S I C P L A Y E R S | L U T H I E R S | C O L L E C T O R S GA C O U US T I C & IC L TA S S I AC A L RBENCIssue 1H 2012 Interviews with: Steve Baughman Laurent Brondel Aaron Green Discover: Ryan guitars Vintage Martins Monkeypod Reviews And much more... G U I T A R B E N C H E D I T O R S N O T E EDITOR: Terence Tan Thank you for looking over the first issue of CO-EDITOR: Nena Ganesan Guitarbench magazine! SALES/MARKETING: Jessica Pau Contributors: Anton Emery, Kevin Ryan, Jessica Pau Over the past 5 years, our website has grown WEBSITES: guitarbench.com into a significant information store with over Our Online Magazine: guitarbench.com 590 published posts and numerous features. This magazine is conceived to break the digital coding barrier to allow us to develop better stories and an unlimited canvas upon which we can deliver the articles we love to produce. The information and advertising set forth herein has We will still be producing articles on guitar been obtained from sources believed to be accurate. The profiles, construction and tonewoods - In this publisher, however, does not warrant complete accuracy of such information and assumes no responsibility for any issue, you’ll find interviews with prominent consequences arising from the use thereof or reliance steel string and classical luthiers- Laurent thereon. Publisher reserves the right to reject or cancel any Brondel and Aaron Green, a slew of great advertisement or space reservation at any time without notice. Publisher shall not be liable for any costs or damages guitars and a profile on Monkeypod. if for any reason it fails to publish an advertisement. This publication may not be reproduced, in whole or in part, But we will be developing more lessons and stored in a retrieval system, or transmitted, in any form or by more unique features. Like this issue’s Celtic any means, electronic, mechanical, photocopied, recorded, or otherwise, without the prior written permission of the Guitar Masterclass by Anton Emery! Or an publisher. upcoming feature looking at the relationship between a luthier and professional player. Copyright ©2012. All Rights Reserved. Reproduction in whole or in part without written permission is prohibited. Our goal is to publish, on a quarterly to Issue 1 bimonthly basis, a high quality online magazine. Published by: T.TAN It’ll be in PDF format and available to view, 24 Photographers: K. Ryan, T. Tan,, A. Green, L. Brondel, S.Baughman, A. Emery, A. hours a day, 365 days a week. Caldersmith, L. Lim. Please watch this space and help us grow to serve your musica needs better by telling your friends about us and also telling us what we can DO YOU LIKE OUR improve upon! MAGAZINE? Please consider subscribing Terence Tan, Editor. for our future editions and help us stay in publication. Just Click Here! C O N T E N T S I N T E R V I E W S R E V I E W S Laurent Brondel 28-41 Between the Ideal and the Aaron Green 42-63 Possible 10-11 Steve Baughman 70-74 Titanium bridgepins 12-15 Guitar Maker’s Path 78 F E A T U R E S Life in Prism 79 Goldrush 6-9 E V E N T S Reworked, Reloved 24-27 1937 OO-18H 74-77 Singapore Guitar Show Monkeypod 64-68 2011 80-83 L E S S O N S Celtic Guitar Masterclass with Anton Emery: O’ Carolans Receipt 16-23 Spread: Fine Purfling lines and abalone adorn a red spruce top G O L D R U S H G O L D R U S H A special wood for a special guitar A special wood for a special guitar Several months ago I was given a rare and This instrument features the Ryan Bevel, Bevel wonderful redwood top by my good friend Flutes, our EO bracing and A4 kerfing, our and great guitarmaker Peter Marreiros. This fingerstyle scale (25.7”) a Florentine cutaway, dark coloration from soundboard is one of those soundboards that ebony binding, oxbone nut and saddle, super came from a log that dates from the great logging 510 machines and a Deluxe Calton Flight Case. immersion in nutrient- days of early California. and mineral- rich waters The Gold Rush Nightingale also debuts my new, Salvaged from the bottom of a cold logging plasma-coated, custom-designed Titanium river after more than a hundred years of bridge pins with Gold Oyster inlaid dots. These submersion in the high country, these rare and new Titanium pins are the result of collaboration lovely soundboards are light and stiff and have with Tisonix. phenomenal tone and presence. And some of them display dark coloration from immersion in I have named this instrument The Gold Rush. those nutrient- and mineral-rich waters. It is a tip-of-the-hat to the romance of the California Gold Rush and Logging Era, the Gold Usually the coloration shows up as contrasting Pearl of the inlays and of course the subliminal patches of light and darker vertical stripes. But “rush” of exhilaration this instrument elicits.” this rare top exhibited the most lovely, chocolatey -Kevin Ryan and coffee-brown colour throughout. In addition, its tone was seductive and rich. Specs: Model: Nightingale Having this top in hand, we decided it needed to Year: 2009 have a unique guitar built around it. So we chose Top: Eclipse Redwood- Submersion Redwood a dark set of master-grade, old-growth Brazilian Top Bracing: Sitka spruce that was the perfect complement acoustically and Back and sides: Brazilian Rosewood visually to this unique top. Back Bracing: Sitka spruce Neck: Honduran mahogany Purfling: Gold Oyster And then breaking new ground in inlay Fingerboard: Ebony design, we inlaid our Full Deco Fretboard Vine Bridge: Ebony completely in Gold Oyster, the loveliest gold Nut Width: 1.75” and bronze-hued pearl. We also inlaid the Deco String Spacing: 2.25” Rosette, headstock, bridge perimeter, bridge Tuners: Ryan Custom Super 510s in Black wings, truss rod cover and, of course, all the edges Chrome (soundboard, fretboard, headstock, back and Scale: 25.7 sides) with this pearl. The result was—well, I will Body Length: 20.5” let you judge the result—but let me say that we are Lower Bout: 16” over the moon with the sound and aesthetics of Upper Bout: 11” this Nightingale. Body Depth: 3.8/4.8 its tone was seductive rush of exhilaration this and rich instrument elicits R E V I E W Between the Ideal and the Possible NK Forster & Dave Best Following a 2 year collaboration between luthier Nigel Forster and photographer Dave Best, a 136 page litho printed book entitled “Between the Ideal and the Possible” is now available. Crisp well reproduced photographs form the first part- a visual journey from raw wood to guitars, marching in tune with the photographic techniques. The raw woods are presented via macro photography allowing detailed views of the grain and fibers. Stark black and white images of tools and the process of bracing up tops, carving necks follow. There is a blend of colour and black and white which mix well with the various composed photos from delicate purfling details to long portrait view of fingerboards being glued up. Overall the photography is technically excellent and compositionally very good indeed . The second portion is a handful of essays from Nigel about technical and philosophical aspects of lutherie. The essays are well thought through with refreshing candor from Nigel. There are great gems like intonation and what constitutes handmade make for IF YOU ENJOY OUR great reading for any guitar enthusiast. The final portion is really a full colour gallery of MAGAZINE, completed guitars, replete with tasty details of headstocks, purfling and wood grain. Please consider a sponsoring Overall, the book collaborators have stuck to what they are best at: Nigel’s philosophy and lutherie, Dave’s us and promoting your photography. Not your typical coffee table guitar book as Between company with an advert the Ideal and the Possible poses interesting discussion points, but with enough visuals to keep any guitar fan happy. space. To contact us, Overall, worth the price of admission as both food for the eyes and for the brain. Just click here! R E V I E W Titanium Bridge Pins Advanced Shell Tech The samples We received a few sets of titanium pins with various inlays- paua, black pearl and fossil ivory as well as a set of ebony and of fossil ivory pins for comparison (pictured above-from left to right: Mammoth, Ebony, Titanium) . All came in a great protective plastic casing with foam padding. No complaints there- the box is light, strong and the pins are well protected. The looks As you can see from the photo below, the matt chrome finish makes for a very appealing aesthetic. In fact because the pins are machined precisely, the overall look is of a sophisticated modern elegance. The low profile heads also enhance this. Our favourite inlay materials are the Black Pearl and Fossil Titanium pins were released a few months ago by Kevin Ryan through Advanced Shell Technology. Ivory (both pictured below). The feedback has been very positive and Kevin very kindly sent over a few sets for the guitarbench team to review. The sound These pins were trial-ed as replacement pins for ebony, Fossil Ivory, Fossil Walrus and Ivoroid. Firstly, here’s what Kevin has to say about the pins: Guitars tested included Goodall Royal Hawaiian (all Koa), Dudendostel D-21 style (Adirondack/ “We have a two-tone plasma coating on the head that approximates a black chrome finish, a recess Brazilian), Greven Travel guitar (Adirondack/Maple), Greven OOO28 (Adirondack/Pao Escrito), that further reduces weight (and also accommodates a 4mm shell dot inlay if desired) and a low- Greven D18 styles (Adirondack/Mahogany and Stika/Mahogany), Lowden F35 (LS Redwood/Black profile head that is very pleasing to the eye.
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