The Jazz Guitar Chord Dictionary
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  1. #51

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    Also + 1 on the nylon archtop although you will be competing with Slaman but then again he is in Europe.
    Maybe look at pickup systems like piezo or ghost / graphic options for midi access. I would also stick to sunburst, wine red or blond finishes Im not a fan of blue or green guitars

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  3. #52

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    Quote Originally Posted by Heybopper
    well done on sticking with your idea. I was going to suggest looking at Norfolk as a place to work from. Very little crime, lots of farms to rent and offices/ workshops. Rent is cheap and lots of countryside very rural.
    I think ive only come across one or two indipendent guitar builders in the UK that do arch tops. They do about two-three models starting at £5500. Isn't fibonacci in London. I know their Nigel price signature model is £3500.
    I think a good idea is to maybe think about offering parts perhaps. Its a real headache getting nice archtop tailpieces or pick guards so anyone making custom ones could do well. I know jack white does celluloid Gibson replicas but some one making good quality bound wooden ones could do well I think.
    Guitar wise for me I am fussy about design. Ie headstock shape, cutaway shape, F holes, I don't like the wooden tailpieces and pick guard. I like the borys b120 design, Benedetto bravo design, 60s guild artist award and of course the Gibson l5, Johnny smith but I like the more modern borys and Benedetto .
    I think before you start making the guitars put up some posts of your designs so we can have a look and give some comments.
    I hope you stick with it. I guess the two main issues are going to be price and design but you haven't got too much competition in England so I wish you all the best and ill be keeping an eye out for your progress best of luck
    Thanks Bopper.
    All very good ideas! I’ve got something a little different in mind. You should like it.

  4. #53

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    The video is set to private.

  5. #54

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    Quote Originally Posted by AllanAllen
    The video is set to private.
    Hi Allan.

    I took the video down temporarily to ask my friend if he didn’t mind being in it.
    He has given me permission to go ahead and it’s now back up.

    Sorry for the confusion.

  6. #55

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    @ArchtopHeaven Sorry for being that guy and asking a dumb question. I'm reading and reading this thread and so far not seen a single example of an archtop guitar that you built. Probably I missed it, or it's in another thread. Is there a link?

    Asking because similar efforts, like say Westville/ArchtopTribute, are typically based around some individual that already has considerable expertise.

    I appreciate the power of modern tech, scanning, CNC etc, but in the end someone has to be able to evaluate the end result and make meaningful iterations. What if something is not quite right, even if CNC/scan says it's 100%?

    Or is the plan to bring such expertise onboard, and focus on the manufacture side of things?

    I genuinely wish you the best and want you to succeed, so please don't take this as a negative.

  7. #56

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    Quote Originally Posted by frankhond
    @ArchtopHeaven Sorry for being that guy and asking a dumb question. I'm reading and reading this thread and so far not seen a single example of an archtop guitar that you built. Probably I missed it, or it's in another thread. Is there a link?Asking because similar efforts, like say Westville/ArchtopTribute, are typically based around some individual that already has considerable expertise.I appreciate the power of modern tech, scanning, CNC etc, but in the end someone has to be able to evaluate the end result and make meaningful iterations. What if something is not quite right, even if CNC/scan says it's 100%?Or is the plan to bring such expertise onboard, and focus on the manufacture side of things?I genuinely wish you the best and want you to succeed, so please don't take this as a negative.
    Frank it’s a totally reasonable comment. I wrote quite an answer to you, only to lose it after being logged out. I’ll try and address it in a video but for now I will say this. I’m not trying to be a luthier. I’m happy to work with great luthiers and build an environment, for them an me to thrive and that will rival the Japanese for quality. I appreciate in other types of guitar manufacturing, the US has caught up but in archtops I think there is wider issue that a smaller more nimble production company, can take advantage of. Or not?
    I want to be the European version of say Audi but for jazz guitars. The equivalent to Fuji-Gen but also offer something they don’t. It’s a tightrope act but one I’m hoping I can pull off.

    As I said to a fellow enthusiast once “Japanese Quality, American Soul”
    Last edited by Archie; 04-01-2023 at 02:21 PM.

  8. #57

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    Quote Originally Posted by ArchtopHeaven
    As I said to a fellow enthusiast once “Japanese Quality, American Soul”
    Funnily I just had a discussion with a Japanese multi-stylist on the Delcamp forum who apparently isn't that impressed by the hype around Japanese lutherie at all.

    US vs. UK quality: I have a memory from long ago where I went to choose a nice pen in an old and very experienced office-stuff store, probably a Parker. I was surprised by the differences in finish and overall look of quality in the two that interested me most, and the store guy said something like "that's normal. See how the cruder one says UK and the nicer one says USA? They do better work there."
    I don't know if that observation was correct then and to what extent it's still relevant nowadays, but if such ideas are still floating around you might be starting off with an additional handicap.

    And meanwhile you have to compete with the couple of workshops in China we all know about. You might have made things a lot easier for yourself by setting up a collaboration with one of those, having the wood lutherie and possibly finish done there and only doing the steps they have clearly less affinity with in your workshop. I'm thinking installing frets, the electr[on]ics and of course the overall QC.

  9. #58

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    Quote Originally Posted by RJVB
    Funnily I just had a discussion with a Japanese multi-stylist on the Delcamp forum who apparently isn't that impressed by the hype around Japanese lutherie at all.

    US vs. UK quality: I have a memory from long ago where I went to choose a nice pen in an old and very experienced office-stuff store, probably a Parker. I was surprised by the differences in finish and overall look of quality in the two that interested me most, and the store guy said something like "that's normal. See how the cruder one says UK and the nicer one says USA? They do better work there."
    I don't know if that observation was correct then and to what extent it's still relevant nowadays, but if such ideas are still floating around you might be starting off with an additional handicap.

    And meanwhile you have to compete with the couple of workshops in China we all know about. You might have made things a lot easier for yourself by setting up a collaboration with one of those, having the wood lutherie and possibly finish done there and only doing the steps they have clearly less affinity with in your workshop. I'm thinking installing frets, the electr[on]ics and of course the overall QC.
    I wouldn’t trust anyone else with my QC. That’s the whole point. I source my own woods, I machine my own veneers. Everything done from the bottom up, in house, with the strictest quality control possible.

    In fact you’re right. My quality will be better than the Japanese. The comparison was inaccurate

    Regarding British products it’s a mixed bag. We have classic designs (Aston Martin, Jaguar, Rolls Royce, Savile Row) we have classic British engineering (Bridges, Racing cars, Trains) etc.. but it seem of recent decades, Britain has declined in it’s world leading status.
    Archtops won’t change that but I intend to make them, is if it could.

  10. #59

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    My reading of Archie's efforts so far is that he isn't necessarily interested in producing whole guitars for sale. Right now he seems to be focussed on laminate plates, or perhaps a full body. Sorta like Roger Borys to Jim D'Aquisto on the Jim Hall effort. Rumour has it Roger also supplied some for Linda Manzer in her early days, both having worked with Jim.

    That project spawned a whole bunch of laminate guitars with plates made the same way. It needs a 2 piece male and female mold for the top, another set for the back, more sets for each rim, and a screw press. This is quite a laborious setup. It is difficult to hand carve perfectly matching molds that allow for the thickness of the veneers. The better the match the better the laminate.

    He only needs to make one mold per part since he's using a vacuum press, and he's got CNC to make those molds. This is really smart. It will allow him to more easily make new custom body shapes. Once a luthier has gone to all the trouble of making jigs the old way they're somewhat reluctant to experiment with new shapes. Manzer Blue Note, Sadowsky Jim Hall, B-120, Westville Aruba and so on all seem to be pretty much the same tried and true guitar. (of course, I really wouldn't know since I've only seen the B-120 in person)

    In fact, in the back of my mind I've been imagining a 'test-bed' body to which some experimental tops could be spindle clamped to test out some new and possibly wacky ideas. Less than half the effort it would take to do it the old way. Possibly trying varying thickness for EG. Maybe a new laminate archtop is on the horizon. Seems there hasn't really been one for decades.

    Having managed a custom wood shop for some 25 years, and worked in a half-dozen previously, I can think of all sorts of reasons why his endeavour might fail. But I won't bother going into all that. I think our guy is aware.

    I'm hoping for the best and looking forward to seeing where this might lead.

  11. #60

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    Quote Originally Posted by ccroft
    My reading of Archie's efforts so far is that he isn't necessarily interested in producing whole guitars for sale. Right now he seems to be focussed on laminate plates, or perhaps a full body. Sorta like Roger Borys to Jim D'Aquisto on the Jim Hall effort. Rumour has it Roger also supplied some for Linda Manzer in her early days, both having worked with Jim.

    That project spawned a whole bunch of laminate guitars with plates made the same way. It needs a 2 piece male and female mold for the top, another set for the back, more sets for each rim, and a screw press. This is quite a laborious setup. It is difficult to hand carve perfectly matching molds that allow for the thickness of the veneers. The better the match the better the laminate.

    He only needs to make one mold per part since he's using a vacuum press, and he's got CNC to make those molds. This is really smart. It will allow him to more easily make new custom body shapes. Once a luthier has gone to all the trouble of making jigs the old way they're somewhat reluctant to experiment with new shapes. Manzer Blue Note, Sadowsky Jim Hall, B-120, Westville Aruba and so on all seem to be pretty much the same tried and true guitar. (of course, I really wouldn't know since I've only seen the B-120 in person)

    In fact, in the back of my mind I've been imagining a 'test-bed' body to which some experimental tops could be spindle clamped to test out some new and possibly wacky ideas. Less than half the effort it would take to do it the old way. Possibly trying varying thickness for EG. Maybe a new laminate archtop is on the horizon. Seems there hasn't really been one for decades.

    Having managed a custom wood shop for some 25 years, and worked in a half-dozen previously, I can think of all sorts of reasons why his endeavour might fail. But I won't bother going into all that. I think our guy is aware.

    I'm hoping for the best and looking forward to seeing where this might lead.
    Hi Cc.

    To quote Tome Waits

    ~ “you must have been reading my mail”.

    That is more or leas what is happening. Using CAD I can make rapid design prototypes and perfect a laminate plate perhaps beyond what others have been able to do before. Vacuum pressing allows for consistent and even pressure across a plate and having machines the digitally shape wood to .1mm, I can control the shape, constancy and glue layer with incredible accuracy.
    I am also working on a system that will allow
    me to swap plates on a body without the need for gluing. This will allow me to make sound tests and modifications very quickly.

    I also have some other interesting ideas and ai still cannot yet tell everyone what it is I’m trying to do. That will come once I have proof of concept.

    I already have a luthier who wants to work with me and he can do the fret work and setup but I have access to very high quality (xyz) lathes and mills, which I can use to machine new ideas that should make fret work and binding much more simple and accurate (well accurate in some
    ways).

    Thanks for the support and thank you everyone for your interest and support.

    The chances are quite high this will fail but my brother told me to fail in public not in silence. So with that, onwards and upwards!

  12. #61

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    ArchtopHeaven, have you considered designing archtops with sound posts? Is there a downside to using sound posts instead of the traditional bracing especially for electric archtops?
    Last edited by Tal_175; 04-04-2023 at 09:23 AM.

  13. #62

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    Quote Originally Posted by Tal_175
    ArchtopHeaven, have you considered designing archtops with sound posts? Is there a downside to using sound posts instead of traditional bracing especially for electric archtops?
    Hi Tal.

    There is as far as I know, no ‘real’ downside but likely a perceived one at point of sale.

    D’Aquisto made his first laminated guitars with quite big sound posts. I think likely for two reasons.

    1) It’s a good way to make the guitar more practical regarding feedback.

    2) It increases the sustain of the instrument to some degree, which is what more modern builders were trying to do post bop.

    The only problem is, people generally don’t seem to like them. It destroys the fundamental idea we mostly have that Archtops are supposed to resonant and the more they do, the better they will sound.

    Although those who have come into contact with sound posts often find it can increase (in a slightly different way) the way vibrations travel through the guitar, making them sound louder compared to ordinary laminate or poorly made acoustic examples).

    It’s definitely something worth playing around with. Have a look at this.



    Frustratingly for me, I was going to use this method in some R&D but he’s already patented the idea. I was likely 6 months away from being able to do it so… but yeh; annoying lol

  14. #63

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    The rather educated opinion of luthiers like Alan Carruth is that a soundpost kills the sustain of a guitar by coupling top and back - which might be a good thing to combat feedback in an electric but would be a death sentence for acoustic use (unless you start playing it like a fiddle, presumably).

  15. #64

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    Quote Originally Posted by RJVB
    The rather educated opinion of luthiers like Alan Carruth is that a soundpost kills the sustain of a guitar by coupling top and back - which might be a good thing to combat feedback in an electric but would be a death sentence for acoustic use (unless you start playing it like a fiddle, presumably).
    There is no doubt regarding their intended purpose. How much that effects electrified laminate tone is what i think is up for debate to some degree.

    I think of a sound post much like touching your guitar to a chair you’re sitting in. The sound changes but you feel a vibration running through things. It’s not perhaps the higher frequency vibrations of looser top? It’s more of an ‘under ground tremor’ type thing.

    Sorry I’m terrible at analogies.

  16. #65

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    Quote Originally Posted by ArchtopHeaven
    I think of a sound post much like touching your guitar to a chair you’re sitting in. The sound changes but you feel a vibration running through things. It’s not perhaps the higher frequency vibrations of looser top? It’s more of an ‘under ground tremor’ type thing.
    Well, yes, you're coupling the directly driven top to the part that is in contact with your body. Even without that there are already times I can feel the back of my Loar respond, even to voices (I probably notice it less when focussing on my playing). A really good acoustic should do this even more, and it's logical that the lower frequencies with their bigger amplitudes are noticed better (and damped less; the tremor under ground analogy isn't that bad even - that's how elephants communicate over *long* distances ).

    Of course you don't typically want this dissipation of vibration energy in an acoustic instrument unless it is part of some kind of "amplification loop" (which isn't the case in a "passive" acoustic guitar). Completely different story in an electric where you want the vibration of the strings to be picked up as directly as possible, but we already covered that.

    FWIW, experimenting with a removable soundpost should be easy and not hindered by any licenses (the video above was too long-winded to watch); you just need a post of the right dimensions and a tool like this
    Starting A Jazz Guitar Manufacturing Business In The UK-169963-1-png

  17. #66

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    Sorry there seems to be a lot of potential confusion here.

    I didn't mean that you feel vibrations through a chair. I meant that the vibrations in the chair can increase the volume (or perceived volume) and tone of your instrument and I was wondering if internal sound posts have a 'similar' effect, physically transmitting the vibrations from the top, to the back, much in the way a bridge does; thus making the guitar body as a whole, resonate more. And when I mean resonate, I do not mean in the traditional idea of a breathing back or vibrating top; I mean in the sense of an object that is now touching the guitar, like the chair analogy I gave earlier.

    Regarding breathing backs, that doesn't play much of a role in laminate guitars, although I it can do to small degree and depending on the builder.

    I've owned 3 archtops with sound posts and all have sounded consistently different, to a standard laminate archtop.
    I'm not talking about acoustic archtops, or the traditional laminate archtop sound; which can generally only be achieved through the traditional methods of construction.

    If sound posts were something I would be interested in exploring and why not? Experimentation is the key to evolution; it would be something I would do 'out of hours' but is still an interesting subject.

    I didn't watch the video above and was not aware of how long it was but the main point of his 'revolution' in acoustic tone, came through connecting the neck to the back of the guitar body. I had seen another video of his but couldn't find it.

  18. #67

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    FWIW I found the Riversong video, quite interesting. Thanks for posting.
    These Luthiers have redesigned just about every part of the acoustic guitar, even the pick up system!

    Wonder how many patents they applied for?It looks like a traditional instrument and yet has so many innovations/improvements.
    I've not heard it in the flesh so cannot compare. But I'm intrigued......

    S

  19. #68

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    Just finished editing 'Episode 2' of my 'New Workshop' series on YouTube.

    In fairness episode 1 and episode 2, should have been one video from the start.
    I'm learning as I go.

    I started using some editing software called 'DaVinci Resolve' and it's a nightmare.
    It took me 10 hours to edit that 8 min video. I could have done it in an hour with iMovie.
    Still DaVinci promises a better payoff in the long term but the initial learning curve seems aggressively steep.

    I hope to upload 'Episode 3' by Wednesday next week. I'm hoping to do 2 uploads a week in this series to bring it all up to date.


  20. #69

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    Hi all

    Episode 3 on of the workshop move. In this one I'm/we're moving over all the bits from the old workshop, to the new one.

    Thanks Joe DeNisco for some of the music.


  21. #70

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    My comments re the issue of
    a) Quality British products and
    b) Sound Posts in acoustic guitars.

    a) When I think of british products that have a really good reputation re quality, durability, design and taste then this comes to my mind :
    - Whiskey
    - Harris Tweed
    - Wool in general
    - Shoes / Boots
    - Marshal/HIWATT/VOX amplifiers
    - The BBC
    - HiFi equipment/loudspeakers
    - Barbour Jackets
    - Rolls Royce
    (not only the cars but their engines/turbines in general)
    - Bentley
    - Aston Martin
    - Jaguar (up until the early 70's)
    - Walker's Shortbread
    I'm not too familiar with the subject but I'm sure there is a large number of GB BOAT builders that turn out world-class vessels of all sorts and sizes....
    I have no prejudices re british engineering in general and I have no doubts that

    b) I have not yet heard/played an acoustic guitar of any design that had a sound-post inside. The PRS Hollowbody guitar I owned for about 5 years had a solid piece of mahogany underneath the bridge/tailpiece and was otherwise completely hollow - that guitar had a unique sound and was a featherweight !
    There are many long-standing Gretsch models that feature so-called Trestle Bracing inside which is really a combination of braces and soundposts. Several builders have since copied and developed this concept where longitudinal braces stiffen the top and make direct contact with the back of the instrument but as far as I know these were/are all hollowbody electric guitars. I have serious doubts whether a soundpost in a flat-top OR archtop guitar will actually improve their tone. The soundpost in stringed instruments does not of course but for one, the sheer size and mass of an upright bass fiddle makes a huge difference and obviously a bowed string excites the top plate in a much different way than a plucked string ever could. No contest.

  22. #71

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    It seems to me like your interests and energies are more in operating a business from the outside in, rather than becoming the actual knuckle-busted craftsman from the inside out. As others have noted, you’d expect that someone would spent several years with their head down developing the practical sensibilities, the options, the nuances, the perspectives to infuse into the single product, and only then growing that into a viable business aimed at a public market. Maybe your interests and talents are what needs strategizing now?

    Your product seems to be the business itself, and you’re obviously becoming very skilled and robust at it. Why stop there? In addition to the strategies, the machinery, the leases, the costs, the design intentions, why not add luthier management to your business design? The best hands-on craftsmen are best when they’re primarily hands-on. People have mentioned an overflow of hobbiest and semi-pro luthiers that may never, and never want to, steer their attention toward all the business practicalities that you obviously are energized by. Sounds like a pretty good arrangement.

    Also I’ll say that I’ve been a pro video editor for several decades and DaVinci Resolve will my 15th major edit system, going back to the days of film and razor blades nicking my hands. Turning away from something like iMovie for what your needs likely are for the next many years and switching to a massively capable but intentionally complex editing system for the most intricate and massive video projects that people normally spend months and years and many, many hours and teens of terrabytes of footage and formats and color/sound/fx/deliverables…

    You know, it’s kinda like you’re setting up a video production capability for whatever future needs and understanding you might someday evolve into, but the current weight of these early decisions can cripple you. Unless a fully equal part of your efforts are in incorporating human capital into your future.

    Like building a guitar business? Best of luck with it all. You sure have the energy.

  23. #72

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    Quote Originally Posted by macuaig
    It seems to me like your interests and energies are more in operating a business from the outside in, rather than becoming the actual knuckle-busted craftsman from the inside out. As others have noted, you’d expect that someone would spent several years with their head down developing the practical sensibilities, the options, the nuances, the perspectives to infuse into the single product, and only then growing that into a viable business aimed at a public market. Maybe your interests and talents are what needs strategizing now?

    Your product seems to be the business itself, and you’re obviously becoming very skilled and robust at it. Why stop there? In addition to the strategies, the machinery, the leases, the costs, the design intentions, why not add luthier management to your business design? The best hands-on craftsmen are best when they’re primarily hands-on. People have mentioned an overflow of hobbiest and semi-pro luthiers that may never, and never want to, steer their attention toward all the business practicalities that you obviously are energized by. Sounds like a pretty good arrangement.

    Also I’ll say that I’ve been a pro video editor for several decades and DaVinci Resolve will my 15th major edit system, going back to the days of film and razor blades nicking my hands. Turning away from something like iMovie for what your needs likely are for the next many years and switching to a massively capable but intentionally complex editing system for the most intricate and massive video projects that people normally spend months and years and many, many hours and teens of terrabytes of footage and formats and color/sound/fx/deliverables…

    You know, it’s kinda like you’re setting up a video production capability for whatever future needs and understanding you might someday evolve into, but the current weight of these early decisions can cripple you. Unless a fully equal part of your efforts are in incorporating human capital into your future.

    Like building a guitar business? Best of luck with it all. You sure have the energy.
    Great comment.

    Sorry if this response comes off as blunt. I know it's going to be a long message and I want to keep it as short as possible. Plus I have about 4 hours of Davinci Resolve to get into.

    There are so many grey areas here that it's hard for me to give a good answer. I would only be speculating on things I do not yet know or understand, which is one of the reasons for doing this whole project (experience) and putting it up here (so I can get as much help as possible from fellow enthusiasts, professionals etc..).

    The daily grind of guitar making:

    The thought of building the same product is not something that fills me with a sense of purpose. There are those that do get this sense and they would be the ideal people to take on this task.

    Is it possible for me to do it, to get the business off the ground; Yes!
    Is it best that I do it, so I can perfect each product; Yes!
    Is it better for me to do it, so I can speak the language and understand the challenges; Yes!
    Is it worth me learning how to fret and dress; Yes!

    The fret dressing is a grey area because I don't know much about frets, like most musicians.
    If I don't learn how to do fret work and become good at it, I won't understand the minutia of what a fret-tech does and what they need; I won't speak the language. It is important for me to speak the language, to understand what makes a good fret-tech, if and when I do take one on. Plus if I don't find one or can't afford one, I can do the job myself.

    In most cases then, it is best for me to start from the bottom and the top and work towards the middle.

    Do I need to take someone on:

    Part of the reason for buying the machines I have, is to obtain incredible accuracy and repeatability but most importantly, incredibly accurate parts, according to their design. This comes under control and quality; control from design and quality from precision.
    On top of that, I've got someone who's going to do all of my carving and will work 24/7 without sick pay

    Tap Tuning Carving:

    To circumnavigate this issue for now, my product base will be laminate, solid pressed and basic carved Archtops. They will still sound phenomenal (or I won't offer them for sale) but they won't be trying to compete in the 'high end luthier space' for a while.
    If I start making money then everything is on the table and will be.
    I will attempt tap tuning, for the reasons that by doing so, it will teach me how far down that rabbit hole to go; the 80/20 rule and will allow me to talk the language (as laid out in the above sections).

    To summarise, in the incipient phase of the R&D, it has to be on me. I'm the one who believes I know what people want, what is good or bad and or how things can be done better/more efficiently. Therefore anyone interfering in that would likely be a diversion of attention and not the most efficient use of time.

    Luthiers:

    All of these ideas I have around surface modelling, CAD design, CNC production, laser cutting etc.. are somewhat at the cutting edge (pun intended I guess) of manufacturing and has been designed by me, to leave the luthier in their workshop, doing what they does best. We're not in competition and they would mostly see my approach as perhaps undesirable but the overwhelming majority of Archtops made, are made in the manner I seek to perfect and when I say 'seek to perfect', I mean perfecting the manufacturing of.

    The process (journey) is always the point. The destination is the result. Perfection is lots of little things done well.

    Spraying:

    To try and work around this problem, I have two easy choices.
    1) Send the guitars to a known company that specialises in spraying guitars (expensive).
    2) Don't finish them (this leans the company towards making parts not full guitars).

    The longer process is learning how to do it myself, although I am already a professional sprayer in other fields.

    Monotony:

    Monotony shouldn't be too much of a problem, I intend to let the machines do the boring stuff. Assembly and putting all that together, should be a rewarding experience. Jumping on 'Teams' and designing someones guitar with them on CAD and essentially printing that out, will be a really fun experience. The only question is, have I set things up for that to actually happen? This is the goal I'm chasing at the moment.

    The next obstacle is, is there enough buyers out there to allow the business to stay solvent and is there enough scope, for it to grow?
    For the first year, I just have to make enough money to stay afloat. I can then determine from that experience, whether the market and business, has enough scope for me to grow and thus whether to carry on.

    During this time I will of course be networking like mad with techs, aspiring luthiers and already established luthiers, to open those options going forward.
    Last edited by Archie; 04-16-2023 at 01:45 PM.

  24. #73

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    I have to admit that early on I was not a fan of Archies approach, and as i recall PM’d him with my negative opinions of his approach.
    But.
    I came to appreciate how he is pursuing his dream, in his own way. Im sure he would like to be successful, but i do get the impression the journey is as important to him as the end points.
    So I admire his intentions, his drive and ambition. He has (obviously) put a great deal of his own (not investors) money into this venture.
    How many of you who deign to criticize Archie would take the monetary risk he is taking? How many of you have dropped everything else to doggedly chase a dream?
    I doubt very many.
    This is the problem with this (and frankly all) internet forums anymore. Far too many naysayers than supporters self aggrandizing with their opinions out front and noses in the air.
    Archie please keep your dream, keep updating us. You do a good job of not letting the riff raff get you down! You seem to be having fun. Maybe thats what sticks in people’s craw?

    jk

  25. #74

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    Quote Originally Posted by jazzkritter
    I have to admit that early on I was not a fan of Archies approach, and as i recall PM’d him with my negative opinions of his approach.
    But.
    I came to appreciate how he is pursuing his dream, in his own way. Im sure he would like to be successful, but i do get the impression the journey is as important to him as the end points.
    So I admire his intentions, his drive and ambition. He has (obviously) put a great deal of his own (not investors) money into this venture.
    How many of you who deign to criticize Archie would take the monetary risk he is taking? How many of you have dropped everything else to doggedly chase a dream?
    I doubt very many.
    This is the problem with this (and frankly all) internet forums anymore. Far too many naysayers than supporters self aggrandizing with their opinions out front and noses in the air.
    Archie please keep your dream, keep updating us. You do a good job of not letting the riff raff get you down! You seem to be having fun. Maybe thats what sticks in people’s craw?

    jk
    Hey JazzKritter.

    I appreciate your support.

    I think people in general have been supportive and if they have reservations, as you did, or still can; that's more than fair. I welcome the criticism and or what seems to be mostly if not entirely, constructive feedback.

    It's really important that I receive some.

    I'm very lucky to have been part of this forum for some time now and because of that, people here have been welcoming of me posting my journey.
    There will always be differences in opinion and I can learn something from them.

    Btw I'm still going to take up your offer of help, I just haven't got round to that part of the business but I really look forward to working with you, when I do.

  26. #75

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    Cool! I was hoping you might recall)