Friday, September 4, 2009

Building An F5 Style Mandolin - Part 6 - Glueing Sides

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I described in Part 1, Part 2, Part 3, Part 4 and Part 5 how I prepared for my F5 mandolin build. Using the help of expert luthier Lies Muller who runs her Muziek & Ambacht workshop in Utrecht, the Netherlands, I will build my first instrument ever. I attend a workshop once a month under Lies' supervision and using her tools as well.

Meanwhile some time has passed, and I've graduated the back and front to a rough finish, ready to be carved more precisely. I've done the most work on the support blocks and glueing the sides to the blocks. I'm still struggling with the main top block, because I messed up sawing the curl with a jigsaw.. I think I have to fill it out with some wood, and then cut it again when the back and top are glued in place; suggestions welcome.

The photos say it all:


the back (left) and the top (right) roughly in shape


the point is glued, struggling with the top block


back point is glued, nice fit


looks alright thusfar


and it fits in the jig! top curl is still too long


loosely covered by the rough top


still needs a lot of carving


back is also in need of carving


bought small arkasas stone

During my vacation, I visited the city of Mirecourt in the Vosges region of France, where several luthier families live and work. There is a luthier college and a municipal luthier museum. The town is littered with luthierian referrals.


one of the shops in town


municipal art


municipal art


municipal art


that's the "je ne sais quoi"


it's quite obvious, really


another shop in town


another shop in town


even Lydia and Pascal the bakers profit!


some bar in town. it's shameless isn't it? :)

At this time, I've done more work on the top and back. Check back for the next part in which I will be closing the sides, shaping the top and attacking that awful cricket bat like monster of what should eventually become a neck (as seen in part 4). I am investigating making my own trussrods, but still looking for the parts in DIY stores. Come back for more!



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Wednesday, May 27, 2009

The Better Pick - Wegen and V-Picks Guitar Pick Reviews

This blog has been updated.

Howdy,

I thought I'd talk shop for a change and address the issue of guitar picks.

Over the years, I've tried quite a bunch of 'em, and got a lot of them at gigs and encounters with other guitarists, who always say "hey, it works for me! try it!". The past 13 years as guitarist for CARRERA, I've used Jim Dunlop 0.60 grey picks mostly, for all purposes. At first I bought a handful everytime, but later I started ordering display cases of 12 matchpick ("matchbook") booklets, which in turn hold 6 picks each, so I basically created an infinite supply of fresh picks.

More recently, I started playing the mandolin, and brushing up on my acoustic guitar playing; mainly learning how to flatpick, and got a good acoustic guitar (Gibson J100 Xtra). My friend Marty (with whom I form "ThickShag & Marty" ), has always used thicker guitarpicks to play with, because he was more into "technique" than I was, playing everything from Van Halen to Django.

I can't take any credit for finding the following guitar pick makers; Marty ordered and tried them first, but I'd like to get your attention for these two extraordinary specialist pick brands:

Wegen Picks (http://www.wegenpicks.com):

Order:
I ordered two packages from the website, I errored by paying in us dollars instead of euros, effectively shortchanging them, we worked it out in euros. Order came in a couple days later in good condition. Wegen prefers PayPal orders (in euros). Make sure to choose the correct playing direction: left- or righthanded.

Review:
I ordered a set of mandolin "M150"- and flatpicking "bluegrass" picks, 4 each for 30 euros in total. Quite expensive. But if you experience the material these picks are made of, it just doesn't wear at all! I guess it does, but very very slowly. The material feels like a hard nylon-like almost ceramic feeling yet flexible plastic. It's apparently cut from a larger piece and shaped. The picks are shaped according to left- or righthanded playing.

The "bluegrass" pick is very precise, holds great due the drilled holes, sound is strong, good hi, firm mid- and big bass tone, some stringbuzz.

*with stringbuzz I mean the chirping noise of the pick being held against a vibrating string; like when you're about to play a string while it's still ringing.


"bluegrass" model guitar pick by http://www.wegenpicks.com

The "M150" mandolin pick is different. It's fatter and it rolls over the strings smoothly, although I think it's not flexible enough, good tone though. Maybe I sould try the "M100" model next time around. I can imagine that advanced mandolin players might like this pick better than I do for now.


"m100 & m150" model mandolin pick by http://www.wegenpicks.com

I decided to try out the "bluegrass" pick on my Les Paul, practising with CARRERA, and one of our friends said he thought the sound was different. After I checked all knobs, volumes and stompboxes etc, we came to the conclusion the only difference was the guitar pick; it just produces more sound!

In all, I think Wegen Picks are not for everyone, an expensive gamble; but if you like them, it's a real quality product, you're all set. I definitely recommend them to anyone who is serious about improving playing technique. There are plenty models and gauges to choose from.

Only drawback for both I think is the color I got; white, they get smudgy overtime, but I guess you could clean them!

Verdict:
Excellent quality, not for everyone.

Funny that both of the pick brands I chose are individuals who strongly and boldly believe that the world would be better off with a quality guitar pick. I didn't really think it mattered all that much, but I now too must admit that a better guitar pick improves your playing, sound and playing experience, so I'd advise you to give it a shot. Try comparing it to writing with a normal disposable ballpoint versus an expensive fountain pen.

V-Picks (http://www.v-picks.com):

Oh yeah, we were talking shop about V-Picks. Vinnie and Nancy Smith run V-Picks, and just reading the website, they too are a special story in the guitar world. Vinnie basically decided to try some acrylic mixture to make some picks, forgot all about it for a number of years, and then rediscovered his invention, and started to market it.

Order:
I wrote Vinnie, after trying some of Marty's v-picks, to ask him for a promo set, so I could try them out. Only days later, received a full promo pack with 6 (!) free picks! All 6 different models ranging from superthin to 3mm thickness.



Review:
The 100% acrylic material is strange at first, because you expect it to frill like plexiglass, but it just doesn't. The V-Picks are molded and shaped, some have (lasered?) logo's in them. The 3mm one really is the smoothest playing pick I ever held, and it has a huge warm tone, but due to it's thickness and roundness, it has less harsh "attack" on the string. They all produce an awesome sound, the ones with sharper edges produce more stringbuzz.

V-Picks stated that these picks have enough friction despite their smooth appearance. I didn't really believe it at first reading it, but once I tried them; as your hand warms the material, it develops more grip, it really does. So I guess it's true.

Verdict:
Excellent quality, hard to choose, although I like the rounded ones best.


Small collection of picks by http://www.v-picks.com

Conclusion
I can't really say that I like either pick manufacturer better than the other one. What I can say is that I'm now convinced that there are better sounding and playing guitar picks out there and really content as a player that I no longer rely on bad sounding, flimsy picks that don't do anything but lay around looking picky.

So, I hope you find all of this useful, and I'd like to hear your own experiences on the matter!

Happy picking,

ThickShag

Update:

Since I wrote this blog I've had the opportunity to visit the factory where Wegen picks are handmade by Michel Wegen. I promised him not to disclose any details, but I can write that I was astounded by Michel's workplace and his skill and attention to the product. He showed me the entire process from start to finish. It takes a lot of different steps to make a perfect Wegen pick. We watched him work in awe, he is a true engineer.

Later, someone else told me that apparently Chris Thile (Nickel Creek) uses or used Wegen picks. If anyone can verify this that would be great!

Monday, May 11, 2009

Top Ten Most Awful Dodgy General Lee Chargers Ever Made

Being a big Dukes fan, I thought it would be funny to collect some badly done "General Leemon's" on the interwebs.

Should you find any that I missed that are equally or even more appalling; feel free to send them, and I'll add them.

Ow! While writing this blog I stumbled upon this great list on Artcar Central "25 Ways To Spot A Fake General Lee"; check it out!

Enjoy!

1. Lawn Mower General Lee


2. Hellter Skelter General Lee


3. Eurotrash Ford Taunus General Lee


4. Die Hard Cast General Lee


5. Die Cast, Die General Lee


6. Dodge Pickup General Lee


7. Daisy's Dixie And The General Lee's Lovechild


8. Bigfoot General Lee


9. Fender Telecaster General Lee


10. No Ying No Yang General Lee

Sunday, April 19, 2009

Building An F5 Style Mandolin - Part 5 - Neck & Soundboards

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I described in Part 1, Part 2, Part 3 and Part 4 how I prepared for my F5 mandolin build. Using the help of expert luthier Lies Muller who runs her Muziek & Ambacht workshop in Utrecht, the Netherlands, I will build my first instrument ever. I attend a workshop once a month under Lies' supervision and using her tools as well.

Welcome back to the build! I've been away for a while again, and after bending the sides in part 4 it is time for the neck.

I made the neck out of a solid piece of flamed maple that wasn't long enough. Solution was to cut a triangular piece off where the neck slopes into the peghead. This piece was reglued to the bottom of the neck to make it slope down, and add a piece of length too. After this, I added to seperate strips of maple to the left and right of the peghead to get the appropriate width clearance. Essentially, the neck now consists of 4 pieces of flamed maple glued together. It doesn't matter, because I will be hiding everything under thin pieces of veneer. It looks quite stirdy and in it's current shape reminds me of a cricket bat.


One cricket bat ready for final shaping


Can you spot the glue lines?

Of course the neck needs further shaping, and routing of the trussrod slot down the length of the fretboard. It's about time to order the hardware I will need to complete the mandolin when finished. I decided to keep everything very basic; chrome hardware, no Waverly tuners, they cost a fortune! If I ever get the impulse I can always "upgrade" the hardware.

Oh yeah, meanwhile I bought a great acoustic guitar: a 2002 Gibson J100 Xtra. It sounds awesome, and it doesn't come with all the fancies, but I like it that way. Maybe put some bone or rosewood bridge pins in it at some point, but it already sounds killer as it is; below some pictures of my Gibsons. My Les Paul is a 1969 Deluxe model in goldtop finish, with the laminated 2 piece body, mini humbuckers and "goof-hiders" around the pickups; temporarily fixed it up with Dunlup straplock system, but kept the original strap pins.


My Gibsons.

I have the back- and the front soundboards now all glued up. It took a lot of cutting the pieces flush so they would glue nicely; awesomely tight, and when held, you can already hear the sonic quality of the woods when tapped. Now busy planing the bottoms flat so I can cut out the rough shapes and start cutting the flamed maple back and spruce top.


Flamed maple back all glued up.


Well cured german spruce top all glued up.

Also glued the first small bit of side panel to one of the support blocks. Hope to report more progression on glueing the sides and other blocks together; which will consist of a lot of measuring, adjusting and test fitting prior to glueing; we'll see.


Bottom tail fin is starting to look like something.


Looks like an F5, doesn't it?

Enjoy the photos, and stay tuned for part 6 in which I hopefully will be showing (partially) cut soundboards and some neck and sides progression.


Sunday, January 18, 2009

Building An F5 Style Mandolin - Part 4 - Bending Sides

Buy ThickShag & Marty music in iTunes!



I described in Part 1, Part 2 and Part 3 how I prepared for my F5 mandolin build. Using the help of expert luthier Lies Muller who runs her Muziek & Ambacht workshop in Utrecht, the Netherlands, I will build my first instrument ever. I attend a workshop once a month under Lies' supervision and using her tools as well.

Welcome back! I've been away from blogging for the holidays and then some, but: I made progress! As you may recall, the last project was making the outer jig, and I was busy planing the flamed maple strips to a thickness of 1,5 mm. During my last day at the workshop, I bent the side panels on a bending iron using some water. I didn't use side bending straps, just my hands; be careful with the heat though.

Make sure your strips are of sufficient length to make the parts, always use more than you need. It's easier to cut than to add! Move your parts from bending iron to jig, adjust so the parts "accept" their new shape. Don't put too much water on it, and not too much strain. The wood will tell you what it can do. A bit of a toasted smell is good. Do little increments at a time, practise on a piece of scrapwood.

Here are some pictures of my progress: (blog continues below)


a planed maple strip, 4 cm high, 1,5 mm thick


1,5 mm thick


top part


detail top part


bottom right part


central bottom part


it all fits in the jig; notice the new holes in the tips of the fins


headstock template out of stirdy binder plastic.


bought and got some tools

At the moment I am preparing a big piece of flamed maple for the neck. Because it is too short, and too narrow, I have to add some scrap bits to the bottom, to form the tip of the headstock, and to the sides, to form the left and right bits of the headstock. The neck is clamped in, and not yet ready for it's closeup..

I also worked on the violin. I got a little piece of ebony from a retired luthier, and I couldn't really work on it, because I couldn't get it snugly clamped in the workmate. But now I bought a cheap chinese steel vise, excellent for clamping smaller bits. I cut a nut from the piece, leaving plenty extra material for final shaping, because I don't really know the proper dimensions, still looking for them.


the finished nut in place..


..with room to spare for final shaping

Stay tuned for part 5 in which I will be fitting the sides and support blocks, glueing them together, work on the neck and headstock, glueing and shaping the front and back soundboards!