Hey all,
Just to let you know, I have moved my blog on over to WordPress who offer me a much clearer layout and just a much better interface. I will keep this site active (until I forget to do so), but to keep up with me online pop on over to:
www.michaelbarkley.com
If you need the un-masked URL for following then try:
www.jazzvine.wordpress.com
If you have an interest in my playing, endeavours or custom guitars, there will be plenty of media available!
Dig it!
Mike
Monday, 2 August 2010
Thursday, 17 June 2010
Vision, Artistry and Music
I have recently been thinking about deeper meanings in music; how abstract playing an instrument is to making meaningful music. Alliteration aside... Glenn Gould's beautiful performance of J.S. Bach's Goldberg Variations spurred my mind into thought last night (whilst I couldn't sleep), so before I go on do watch some of this video.
Gould is amazing. Everything he does is intertwined with meaning (character, emotion; those things which have a very human gravitas or connection), the very fact that he is singing as he is playing augments the performance. As I said, last night as I was perpetually not sleeping, listening to Gould made me think of a couple of important subjects. Note that I reference performers, but in my opinion this is equally valid to composers.
The best musicians who give the best performances have a strong vision; they have conviction to play the music with their own voice and embrace the music almost as if they had lost self-awareness.
Technique alone means nothing to music; technique is a hindrance if solely pursued. (Within the heading "Technique" I would include any physical aspects of playing which do not address interpretation or the human element of performance).
I have been careful with my word choice; I am not trying to make a blanket statement to grab a short shock value, for that I would be much more blatant.
ALL SPORTS SUCK.
See?
Listening to Gould's above performance really linked my above points. He does not have perfect technique, however he was a virtuoso pianist. Much more importantly is the musicality and daring of his performance which can only come from someone who has a real vision and conviction on how they want to perform. It is not good enough that we, as performers, would study just to copy what has been; there is no musical merit to that! There is a LOT to learn from transcription and diligent study - that is not in question. Also it is obvious that not everyone is going to be one of the most eccentric concert pianists ever to have lived, but you have a responsibility to put meaning in your performance and composition, otherwise it is pointless; a CD player will play your piece better, a sample library will flawlessly execute your performance (however clinical and devoid of nuance) only you can add the abstract notion of meaning.
A good example before I start talking in circles:
John Coltrane was one of the world's greatest Tenor Saxophone players, he has left us a legacy, he had a strong confidence in his vision on how he wanted to play; he was not Charlie Parker II, he was John Coltrane. One of his most famous tunes is called "Giant Steps" which was released in 1960 on an album of the same name. The solo which Coltrane plays on this is iconic. It is bebop influenced and it is a for teller of things to come in Coltrane's musical career, playing "sheets of sound" and with dense harmonic complexity and sheer virtuosity. None of this ability diminishes the recording, nor do the alternate takes. It was no secret that Coltrane, who obsessively practised, shedded this tune for a year before recording it. My point is that there is meaning in this music, I can appreciate the connection of music and musician.
Before we get to Coltrane, I will show a clip of Parker playing so that you have a reference point. Shoot me, but I wish Buddy Rich played less, and Charlie more!
This video has a very nice transcription which is mesmerising if you vacantly stare at it while the music plays. It is also interesting to musicians to see in their language.
And now, like Babe Ruth, I am going for the home run... A video that us music geeks know well; the Japanese robot playing Giant Steps. Remember, you aren't far from this if you are set for perfect technique and neglect to personalise the music, or in fact if you have bad technique and just wade on through the music like washing the dishes.
And at 350 BPM! I can't get through these videos, they are really nasty!
Time to finish off (I usually say this at the half way point of emails - for those of you who know me and get longer emails from me, you can smirk!). The players and examples above feature very capable, virtuosi instrumentalists, but my point on technique is fair. The pursuit of technique alone is meaningless, because although it will facilitate the playing of exceptionally demanding pieces, it is not inherently musical and meaningful. Caveat: Yes, I like my concerti without mistakes... I also like great cadenzas, exciting tempi, bebop, Wayne Bergeron and beer. These all require good facility on the instrument (Trumpeters dig the latter few... I hope!), but just to repeat myself; technique is meaningless without the cognitive effort of personalising the music you use it to play.
The importance of technique is more that a lack of it will impede your playing of certain music. I could not convincingly play through the "Carnival of Venice" by Arban. If I thought I would be able to express myself adequately with this piece of music, I would shed it really hard, however, I would prefer to have the technique required to play this piece because it is transferable to all aspects of playing which is why I study aspects of this. It is good to note that every clip that I have shown has players with phenomenal ability, players who obsessively practised. They didn't have flawless technique, but I believe that their pursuit of technique was for a musical end and that they did indeed create music with meaning.
Another chronic practiser was Clifford Brown, one of the finest bebop trumpeters to have lived. Sadly a very young death halted what would have almost certainly been a ludicrous career in music; who knows what Brownie would have worked on!? Alas, that is not the point. He worked on his technique so that when he was to improvise, he could play what he heard in his head and what he wanted to express. A fairly famous solo of Brownie's is on "Joy Spring" - it is technical but not cold or robotic, and you can hear the hours he spent shedding the changes and working on his playing so that when he recorded it there were fewer road blocks... Sometimes I can't even see a road!
Ignore the picture of Miles. This is Brownie.
Voice, nuance and character within music - interpretation - links me to my final point. Yes, very few of us will be near Gould's level of artistry (or eccentricity if you prefer to see it this way) but all of us are able of independent thought, don't deny yourselves this in your music. OK, you could be playing somewhere very restrictive, like Violin II desk II in the Symphony, but you don't need to pull the tempi to pieces as Gould does. The magnitude of the effect of your personalisation of the music need not be anywhere as dramatic as Gould's; the only important level is personal if you are consciously doing this, obviously soloists get much more freedom in this respect. Alternatively you can take the Eroica at half tempo. Email me if you do, I would love to know what your conductor says :D
As a tentative link to interpretation and technique: Freddie Hubbard playing Clifford Brown's Joy Spring.
Obviously with Jazz the improvisation is the perfect place to personalise the music, it is also very easy to think that "your thing" isn't acceptable and therefore you just imitate. Freddie clearly didn't. Freddie's technique wasn't perfect; he had a lot of embouchure problems, yet his artistry was not affected. There are points here to address at another stage, I don't want to loose the point of this in a sea of Philosophy, improvisation, Jazz and the like.
I hope that this wasn't too rambly, and made some sense. The barrier between a feeling and the words to usefully convey it is immense, just know that I am earnest about what I write and am in no sense of the word a "professional" performer or musician. I love music, I love playing and composing. I am happy in what I do... and when I hear the video I am about to post, I am literally speechless. (considering that in the recording he was early 20s, record contract age 14, age 17 recorded what I would class as "sickest trumpet chops ever" on his CD "Carmen Fantasy" available on Teldec I believe. This has to be heard to believed.)
Sergei Nakariakov playing a transcription of "Rondo Capriccioso". Sergei is probably the greatest Trumpeter to have ever lived. He is capable of outstanding virtuosity, and musicality.
http://www.amazon.co.uk/Sergei-Nakariakov-Limit-Camille-Saint-Saens/dp/B00004SX2J
Mike
Gould is amazing. Everything he does is intertwined with meaning (character, emotion; those things which have a very human gravitas or connection), the very fact that he is singing as he is playing augments the performance. As I said, last night as I was perpetually not sleeping, listening to Gould made me think of a couple of important subjects. Note that I reference performers, but in my opinion this is equally valid to composers.
The best musicians who give the best performances have a strong vision; they have conviction to play the music with their own voice and embrace the music almost as if they had lost self-awareness.
Technique alone means nothing to music; technique is a hindrance if solely pursued. (Within the heading "Technique" I would include any physical aspects of playing which do not address interpretation or the human element of performance).
I have been careful with my word choice; I am not trying to make a blanket statement to grab a short shock value, for that I would be much more blatant.
ALL SPORTS SUCK.
See?
Listening to Gould's above performance really linked my above points. He does not have perfect technique, however he was a virtuoso pianist. Much more importantly is the musicality and daring of his performance which can only come from someone who has a real vision and conviction on how they want to perform. It is not good enough that we, as performers, would study just to copy what has been; there is no musical merit to that! There is a LOT to learn from transcription and diligent study - that is not in question. Also it is obvious that not everyone is going to be one of the most eccentric concert pianists ever to have lived, but you have a responsibility to put meaning in your performance and composition, otherwise it is pointless; a CD player will play your piece better, a sample library will flawlessly execute your performance (however clinical and devoid of nuance) only you can add the abstract notion of meaning.
A good example before I start talking in circles:
John Coltrane was one of the world's greatest Tenor Saxophone players, he has left us a legacy, he had a strong confidence in his vision on how he wanted to play; he was not Charlie Parker II, he was John Coltrane. One of his most famous tunes is called "Giant Steps" which was released in 1960 on an album of the same name. The solo which Coltrane plays on this is iconic. It is bebop influenced and it is a for teller of things to come in Coltrane's musical career, playing "sheets of sound" and with dense harmonic complexity and sheer virtuosity. None of this ability diminishes the recording, nor do the alternate takes. It was no secret that Coltrane, who obsessively practised, shedded this tune for a year before recording it. My point is that there is meaning in this music, I can appreciate the connection of music and musician.
Before we get to Coltrane, I will show a clip of Parker playing so that you have a reference point. Shoot me, but I wish Buddy Rich played less, and Charlie more!
This video has a very nice transcription which is mesmerising if you vacantly stare at it while the music plays. It is also interesting to musicians to see in their language.
And now, like Babe Ruth, I am going for the home run... A video that us music geeks know well; the Japanese robot playing Giant Steps. Remember, you aren't far from this if you are set for perfect technique and neglect to personalise the music, or in fact if you have bad technique and just wade on through the music like washing the dishes.
And at 350 BPM! I can't get through these videos, they are really nasty!
Time to finish off (I usually say this at the half way point of emails - for those of you who know me and get longer emails from me, you can smirk!). The players and examples above feature very capable, virtuosi instrumentalists, but my point on technique is fair. The pursuit of technique alone is meaningless, because although it will facilitate the playing of exceptionally demanding pieces, it is not inherently musical and meaningful. Caveat: Yes, I like my concerti without mistakes... I also like great cadenzas, exciting tempi, bebop, Wayne Bergeron and beer. These all require good facility on the instrument (Trumpeters dig the latter few... I hope!), but just to repeat myself; technique is meaningless without the cognitive effort of personalising the music you use it to play.
The importance of technique is more that a lack of it will impede your playing of certain music. I could not convincingly play through the "Carnival of Venice" by Arban. If I thought I would be able to express myself adequately with this piece of music, I would shed it really hard, however, I would prefer to have the technique required to play this piece because it is transferable to all aspects of playing which is why I study aspects of this. It is good to note that every clip that I have shown has players with phenomenal ability, players who obsessively practised. They didn't have flawless technique, but I believe that their pursuit of technique was for a musical end and that they did indeed create music with meaning.
Another chronic practiser was Clifford Brown, one of the finest bebop trumpeters to have lived. Sadly a very young death halted what would have almost certainly been a ludicrous career in music; who knows what Brownie would have worked on!? Alas, that is not the point. He worked on his technique so that when he was to improvise, he could play what he heard in his head and what he wanted to express. A fairly famous solo of Brownie's is on "Joy Spring" - it is technical but not cold or robotic, and you can hear the hours he spent shedding the changes and working on his playing so that when he recorded it there were fewer road blocks... Sometimes I can't even see a road!
Ignore the picture of Miles. This is Brownie.
Voice, nuance and character within music - interpretation - links me to my final point. Yes, very few of us will be near Gould's level of artistry (or eccentricity if you prefer to see it this way) but all of us are able of independent thought, don't deny yourselves this in your music. OK, you could be playing somewhere very restrictive, like Violin II desk II in the Symphony, but you don't need to pull the tempi to pieces as Gould does. The magnitude of the effect of your personalisation of the music need not be anywhere as dramatic as Gould's; the only important level is personal if you are consciously doing this, obviously soloists get much more freedom in this respect. Alternatively you can take the Eroica at half tempo. Email me if you do, I would love to know what your conductor says :D
As a tentative link to interpretation and technique: Freddie Hubbard playing Clifford Brown's Joy Spring.
Obviously with Jazz the improvisation is the perfect place to personalise the music, it is also very easy to think that "your thing" isn't acceptable and therefore you just imitate. Freddie clearly didn't. Freddie's technique wasn't perfect; he had a lot of embouchure problems, yet his artistry was not affected. There are points here to address at another stage, I don't want to loose the point of this in a sea of Philosophy, improvisation, Jazz and the like.
I hope that this wasn't too rambly, and made some sense. The barrier between a feeling and the words to usefully convey it is immense, just know that I am earnest about what I write and am in no sense of the word a "professional" performer or musician. I love music, I love playing and composing. I am happy in what I do... and when I hear the video I am about to post, I am literally speechless. (considering that in the recording he was early 20s, record contract age 14, age 17 recorded what I would class as "sickest trumpet chops ever" on his CD "Carmen Fantasy" available on Teldec I believe. This has to be heard to believed.)
Sergei Nakariakov playing a transcription of "Rondo Capriccioso". Sergei is probably the greatest Trumpeter to have ever lived. He is capable of outstanding virtuosity, and musicality.
http://www.amazon.co.uk/Sergei-Nakariakov-Limit-Camille-Saint-Saens/dp/B00004SX2J
Mike
Tuesday, 1 June 2010
Piccolo trumpet video.... (clip)
I ordered a JP piccolo after reading Gordon Hudson's reviews of the Jinbao piccolo - he surmised that the John Packer was the same instrument and that it would be worth a try given the very attractive price.
I believe that this is the Jinbao piccolo, and it seems to be a very good performer so far. In this clip I had not properly tuned the piccolo (crucial) and you will hear a couple of intonation issues. This is user error :) (especially that low D - E trill... the 3rd valve slide was not set). It also sounds a little flat to concert pitch as I was practising with my young brother who plays on a rather flat Eb Tuba.
The clip is a mash up of the Te Deum by Charpentier - nothing like the original :) I played this on the Bb side in Concert Bb major. I used the tight mouthpipe with my standard Curry 3M. trumpet mouthpiece.
Apologies for the poor sound and video quality. You would have seen me correct that low D and play on, but the video got terribly out of sync - it wasn't worth posting. The good news is that I will have a Zi8 to record with soon! Sadly it will take a while longer before my playing is better ;)
A very good resource on Piccolo Trumpets is found here. There is great detail on choosing one, tuning etc... The only thing I would say is to try one of these Jinbao piccolos. While the market is swamped with terrible instruments from the Chinese manufacturers, this instrument is different. It plays well and is apparently well made. I can vouch for the John Packer Trombones and Cornets as I have played (not owned) them. I can also vouch for the Thomann FH600S Flugel Horn, as I have owned one for five years now and while it cannot touch my Kanstul 1525, it is a very worthy instrument that I don't want to call "budget" because of the negative connotations therein.
These horns in the UK are called "John Packer" they are made by Jinbao (to the best of my knowledge) and go under the name of "International Sound" as well as "Jinbao". Dillons in the USA also sell cheap piccolos which seem to get decent reviews - with a decent returns policy (as John Packer has) you can hardly stand to lose. My bank just loves how I buy stuff but hardly ever feed it monies :)
If you are interested in this piccolo, John Packer are very good to deal with, very friendly and accommodating. They can be found here:
http://www.johnpacker.co.uk/default.aspx
I believe that this is the Jinbao piccolo, and it seems to be a very good performer so far. In this clip I had not properly tuned the piccolo (crucial) and you will hear a couple of intonation issues. This is user error :) (especially that low D - E trill... the 3rd valve slide was not set). It also sounds a little flat to concert pitch as I was practising with my young brother who plays on a rather flat Eb Tuba.
The clip is a mash up of the Te Deum by Charpentier - nothing like the original :) I played this on the Bb side in Concert Bb major. I used the tight mouthpipe with my standard Curry 3M. trumpet mouthpiece.
Apologies for the poor sound and video quality. You would have seen me correct that low D and play on, but the video got terribly out of sync - it wasn't worth posting. The good news is that I will have a Zi8 to record with soon! Sadly it will take a while longer before my playing is better ;)
A very good resource on Piccolo Trumpets is found here. There is great detail on choosing one, tuning etc... The only thing I would say is to try one of these Jinbao piccolos. While the market is swamped with terrible instruments from the Chinese manufacturers, this instrument is different. It plays well and is apparently well made. I can vouch for the John Packer Trombones and Cornets as I have played (not owned) them. I can also vouch for the Thomann FH600S Flugel Horn, as I have owned one for five years now and while it cannot touch my Kanstul 1525, it is a very worthy instrument that I don't want to call "budget" because of the negative connotations therein.
These horns in the UK are called "John Packer" they are made by Jinbao (to the best of my knowledge) and go under the name of "International Sound" as well as "Jinbao". Dillons in the USA also sell cheap piccolos which seem to get decent reviews - with a decent returns policy (as John Packer has) you can hardly stand to lose. My bank just loves how I buy stuff but hardly ever feed it monies :)
If you are interested in this piccolo, John Packer are very good to deal with, very friendly and accommodating. They can be found here:
http://www.johnpacker.co.uk/default.aspx
Friday, 28 May 2010
Saturday, 22 May 2010
Neck shaping. Tool tips.
Here are 2 videos showing a little work that I am doing on the 6 string bass.
This video is a general "what I am doing" one. The semi-hollow body is nearly finished - I have been play testing it a lot (IE I like playing it and don't want to take it apart to finish...).
This is a mid-stage video of the headstock and body carving. The key in the work is to visualise and maintain focus on the end goal and not to freak out about using a rasp or chisel and leaving an uneven surface - you work in varying degrees of coarseness for the sake of efficiency.
Spoke shave/Chisel/Rasp/File/Cabinet Scraper/Power tools/Sand paper?
Here are some of my criteria for choosing which tool to use when shaping a neck - this is not a complete resource - experiment. I have seen people shape whole instruments with a rasp - there is no "right" way. (HINT: A drywall hatchet is NOT the right way. Someone actually did this!!!).
Power Tools
I like to do as much as I can with power tools. These are often the best at working with very hard woods, they work (often) faster than hand tools. Since I am specifically mentioning the neck, I will stay on topic regarding my use of them.
- Main cuts in the preparation of the neck, all thicknessing/surfacing (laminates etc) (Bandsaw, table saw, router, power plane)
- All channels (rods/bars down the neck) and holes (machine heads) (Router/drills)
- General sanding (Palm sander/belt sander)
*After rasping it often works that a palm sander can clean the gouges up just faster than a file, however it is not as nimble. This is very good because the cabinet shaper will work VERY well on a smooth surface.
- Penultimate sanding (Palm sander)
NB. Keep all fingers! Sharp tools, tight collets, awake operator. Cut 3 times, measure once... right? ;)
Spoke shave
The spoke shave is the main tool that I use to shape the neck. It allows me to do long smooth cuts and due to its narrow base I can work on curves, slopes and in confined space. The long plane fails because its base is much too big.
- Main neck shaping (to any contour - deep "C", "V", hybrids or compound shapes).
- Limited shaping at the body and headstock side - this is due to its size. Much like the long plane cannot fit to shape the main part of the neck, the spoke shave is limited, and that is why I have a handful of tools to work with.
NB. Remove less rather than more and be aware that grain can reverse and tear out. A sharp blade, strong grip and shallow cut depth will help.
Rasp
The rasp is a very rough tool. It is excellent at removing a lot of material in hard to reach areas. It is capable of creating very natural curves, and with care the "clean up" of the gouges it leaves is simple. The palm sander/file/sandpaper are good options for removing the gouges.
-Neck/headstock transition area. This is the only tool for the job (in my opinion). The spoke shave will not do this well. Sanding will take forever, as will a file.
- Body/neck (heel) transition. In conjunction with the chisel and spoke shave this moulding can look very neat.
NB. Long, controlled strokes - pushing or pulling in the direction of the cut work best. Resist the urge to drag the tool back across the work piece - you un-necessarily wear the tool and yourself.
Chisel
I like carving with the chisel because it seems like something that they would have done in the "old times". I don't like cutting myself with the chisel, though I bet they did that too!
The chisel is fabulous at carving the tight radius shapes found at the heel, for detailing areas anywhere - sometimes the chisel more accurately removes wood.
- Neck/body transition area. The chisel is indispensable for shaping in here, as I am building mainly through-necks and there is always a very tight radius needing shaped. The rasp runs the risk of damaging the body with scrapes whereas patience and a bit of focus with a chisel will turn good results.
- Headstock/neck area. The chisel is useful to help shape this transition in several ways. Before the rasp is used you can remove bulk wood with the chisel to speed the rasp work. (I do this sometimes). Or after you can clean up rasp marks in hard-to get areas, or indeed just general shaping.
I find that a firm, strong grip with both hands, 1 supporting the blade is necessary for most of my shaping. If the tool is sharp there is no need to muscle the cuts - you should not be taking so much wood off that it needs undue force. If this is happening, sharpen, think, work. A firmly held work piece is a MUST for working.
NB. As with most wood working tools, the chisel is USELESS if it is blunt. It is a danger to your piece and to you if it is blunt. Sharp tools = good work.
File
The humble file is very useful at cleaning up the gouges left by the rasp - seems like most of the tools here are damage management for the rasp - ha! It is very capable at shaping and cuts very effectively across the grain. Like the rasp it leaves gouges, it can also ruin a nice carved radius if you run the edge into it - stay awake.
- Cleaning rasp damage. This is anywhere you use a rasp - anywhere on the neck.
- Working on medium radices. Usually nearing a final step as it will take some time to shift even 1-2mm.
NB. Push, don't push/pull. Files cut in the push direction and you speed up the wear/bluntening process if you push/pull. The dust doesn't get as good a chance to clear and it cuts no faster. Good support from both hands will always give better results, 1 handed filing will produce more scrap wood... guitar shaped wood. Or some "clever" thinking (about how to get around the gaff).
Cabinet Scraper
Very useful tool for final shaping. It can remove more wood than you wood think. (sorry) They can get into reasonably tight radii and will mess things up if you are too hasty, especially against the grain. They work remarkably well on sanded wood, much better than a rough surface. They can tend to accent a rough surface unlike a file or sandpaper which removes the peaks and levels it.
- Entire neck final shaping before sanding stages. Useful to remove any slight undulations in the carving.
NB. Keep a keen edge on this tool. Support with both hands, and tell it that it is just as useful as all the other tools even though it is just scraper...
Sand Paper
Hand sanding is the final stage. It is so painfully boring that I like to do as much as I can with a palm sander. Work from coarse to fine, do not let any scrapes from a previous stage pass into the fine stages of sanding because you will never shift it with fine paper. Lift the cabinet scraper/coarse paper.
- Entire neck/entire instrument.
I tend to work in the following order of grades:
1. 80 grit (palm sander)
2. 120 grit (hand sanding - block/sponge support optional)
3. 180 grit
4. 320 grit
5. 400 grit
6. 800 grit
You don't need to go much further on an oiled instrument, and on a spray finish you should stop at around 320/400 grit to give the paint a key to grip, then finish the paint up to 1600+ grit.
I have been writing too much, I now have a headache. I think watching some Frasier or something will help!
Until next time, here is a cool guy playing a bass.
Blessings,
Mike
Friday, 7 May 2010
How to check if your neighbour is in.
My neighbour is a dick, is he in tonight? Let's see...
Firstly, this is how me and my brother check to see if our neighbour is out. Let it be known that there is a mutual disdain between ourselves and the single-brick depth walls do little for sound insulation. In any case I am in a perpetual state of annoyance at having my playing curtailed and enjoy these moments.
Secondly, you should treat this video as a rare opportunity to glimpse into the lives of trumpet players and musicians. We hope that you learn from this video, we know that even the best can learn from this.
Dan is pictured with the silver trumpet, Mike is off-screen for the benefit of the viewers... (AKA poor film work)
Enjoy :-)
Tuesday, 20 April 2010
4 new tracks
These are recordings from a rehearsal session. Basically the 1st time through most of these tracks. I enjoyed myself, I enjoyed playing the music and to me the recording says that I should work towards a bigger goal. The playing is very much of a sightreading nature; you can forgive the blips therein.
Exile:
Nightshade:
Solanum:
Dawn:
Adios!
Monday, 19 April 2010
A new creation
I have been "inventing" - I bet this has been done, but none-the-less it is an invention.
I play a little on low brass, a Bach USA marching baritone really - this was an impulse buy but it is proving to be more useful as time goes on, so I want to be able to easily double on it and my main instrument - the trumpet.
I took an old 12C (Blessing) and cut the shank off, and brazed a Denis Wick 5 French Horn mouthpiece - this is like a large trumpet mouthpiece, but exceptionally deep. I think the depth is what helps it keep some core in the sound - it is bright, but not horrible.
Step 1: Ruin 1 mouthpiece
Step 2: Check that they fit well. I actually drilled this out more such that the French Horn mouthpiece sat in just under 1/2" more for the sake of tuning. Play testing before brazing was a smart idea. Nearly didn't bother!
Step 3: Ruin 2 mouthpieces
Step 4: Give her a wee clean up and admire the sight of 2 ruined mouthpieces!
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Step 5: Stick up a dodgey youtube video!
For neater results the brazing requires more heat than our small blowtorch can produce, so if there is a next time(s) I may invest in an oxyacetylene torch. What we have is an air-tight, strong seal, so I am happy with the result. There is a "bend" in the mouthpiece (more like an angle between the cup and shank of the piece, it was not bent, it just seated off axis when brazing). This actually feels very comfortable. I have half a mind (over-statement) to get one of my Trumpet pieces professionally bent, say to 5*. Maybe I will just drop it down (more) stairs... might work!
Anyway, I have the semi-hollow body carved-top completed (not oiled yet). Very favourable comments from Mr Mark McKnight. I have some video clips from Mark's play testing with the Linley Hamilton Quintet, but the audio is clipped - I will try to fix this and seek the appropriate creative permissions to share the video here.
My blessings,
Mike
Thursday, 15 April 2010
Saturday, 27 March 2010
Routing for the archtop pickup - Video
This is what I was at yesterday - I am taking a day off because I woke up feeling head-coldy and I am too tired to be doing important things on the instruments - I will resume tomorrow or Monday.
This is a picture of the removal of the most of the pickup cavity wood - less work for the router to do, it will help the blade last longer due to less unnecessary cutting.
I will sign off here, I am relaxing to Stravinsky's Rite of Spring. That boy could write a wee tune liek... :)
Be well,
Mike
Thursday, 25 March 2010
Neck shaping videos / Fretting tips and technique
Shaping the headstock and neck transition area.
Bear with this one - the video glitches, but my short commentary at the end will still be heard, just out of sync! Apologies on behalf of technology everywhere!
Neck heel/body transition area.
Rough neck contour completed.
Fretting tips and technique.
God bless you,
Mike
Monday, 22 March 2010
2 more videos - Thicknessing
I am near paralytic with tiredness tonight, here are 2 videos - #2 and #3 of 3, showing some thicknessing. Video #1 is 12 minutes long and therefore too much for youtube to handle, I will be trimming it soon... I assume that everyone waits with bated breath...
#2
#3
I was super productive today, hence paralysis... more videos to follow. More pics to follow, and just to round this off...
Blessings!
Mike
Saturday, 20 March 2010
Building is progressing.
I am very tired, words will be few and pics many. There are videos on the way, stay tuned :)
The pics are all out of order, and I really haven't got the energy to sort this. I am sure you can work out how this progresses.
This is my main interest - everything just sitting in place, but I will be gluing soon! Looking nice.
6 necks and 1 to-be neck.
2 bass necks.
6 string musicman bass pickup. Weaponry.
6 string bass headstock planning.
8 string guitar headstock.
8 string guitar, parts and body set on to visualise.
New electric body design. I like this. See above.
8 string headstock design.
2 necks in progress (now nearly complete)..jpg)
Laminating the top onto the hollow body.
The "f" hole - free hand sketch, then cut with a coping saw. Super pleased with this!
working on the 8 string headstock.
Working on chambering the hollow body - not complete here, all neat now.
Rear of 8 string.
Rough cutting the 8 string neck. Bandsaw.
Affixing the headstock wood. Doing measurements here, gluing uses 4+ clamps..jpg)
Now to get some sleep!Blessings,
Mike
Wednesday, 17 March 2010
Sunday, 14 March 2010
A quick recording
Another music related instalment - but only to be succeeded by many building related instalments...
My friend Jeremy asked me to throw down a quick old style blues, like 1930's era so I wrote a head chart with some horns to simulate a small big band. I say simulate because I don't play reeds, so I used a marching baritone for bass trombone and tenor trombone sounds, flugel for top trom, 3 trumpets and melody doubled on cup muted trumpet and harmon mute (no stem). I haven't worked out my "drummer"... that all time favourite joke pops to mind:
What's the difference between a drummer and a drum machine?
You only have to punch the rhythms in once on a drum machine!
There are too many... onwards...
The recording itself is OK - I am happy for what it is, but since I don't play the baritone horn often I find it hard to keep in tune, furthermore, this is basically the take of the 2nd read through. The playing is deliberately in an older style but I still need to shed the blues big time! Well, here she is; "Blues for Jeremy":
I got to use my new Rode NT2A mic - really beautiful. Multi-pattern, high SPL capability, ultra low noise design, large capsule. On the trumpet it sounds super smooth if you roll off a little around 8k - there is a peak here, I roll off from about 6k onwards, and maybe 1/2dB boost across the 100-1000Khz range for a little more body. I am going to have some fun recording more with these - I will post about this later!
Should anyone want the chart, I can send a PDF if you like... you probably have no need :)
I am taking a day away from the guitars - I am seriously wrecked, so I will just make mistakes! Back to that tomorrow, and perhaps a post outlining my newest work. I am now building 7 instruments... lots to do!
Blessings,
Mike
Friday, 5 March 2010
A little playing
I realise that my blog is often about everything bar music. I suppose building guitars is related, but whatever. Over the past while I have...
In no particular order...
Recorded a couple of tunes for Rory O'Connor and Amy McGarrigle (links later):
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My gear:
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Played a 2 week production of Sweeney Todd at the Millside Theatre (I really miss this, I would have loved to have done another month. Loved every night!!) Peter Corry and Nuala McKeever as Sweeney and Mrs Lovett.
Sorry for stealing your photos, Kate, I was playing and didn't have time to snap any...
Actually I did... final show, standing ovation, sold out. Excellent!.jpg)
Lovely building!
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Recorded with Ricky Graham and John King "Signals Under Test":
I played with them on a couple of gigs, 1 in the Black Box:
KJJO Gig, Errigle Inn:
I have to start writing more music, making more time for that and trying to get an average of 1-2 hours of un-productive practice a day into 2 hours of solid grind. Linear patterns won't learn themselves. Fact.
Night!
Sunday, 28 February 2010
New guitar/bass projects (lots of pics)
I finished 2 hand planes and I meant to update this a while back but here they are. A convex bladed one and a short block plane for smoothing:
I designed a new instrument a while back for either thin-line electrics (sort-of retro feel) or for a deep body chambered jazz guitar with a laminate top and an "f" hole like on old 335s or other archtops. I am super pleased with my plans - I really do like to draw. My design:
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I trued up some Sepele and Tulipwood to build this from, here is the result (the Sepele (Mahogany) one will be a deep jazz guitar, the Tulipwood will be the thinline - both neck through, both with that Les Paul neck relief):
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Here are the projects that I am working on, from left to right;
1) 8 string, 27" scale laminate through neck. Planned tuning of F# B E A D G B E or F Bb Eb Ab Db Gb Bb Eb - the longer scale should sustain this with heavy strings and still sound tight. Emg 45DC 6 string bass pickup being used - seem to be highly recommended by luthiers - active electronics. Ash body, Walnut top, Maple/Walnut laminate neck. Fingerboard not ordered yet.
2) (under the 8 string) 4 string semi-acoustic fretless bass. 34" scale, through neck. Tulipwood body, Ash top. Vintage bridge with brass saddles, Jazz bass pickups.
3) 4 string, 34" scale, neck through (maple). Music Man Kent Armstrong pickup. Active or passive.
4) 6 string bass, 34/35" scale, laminate through neck. Planned tuning of B E A D G C on standard guages. I have a Wilkinson 6 string Music Man pickup coming from the States for this :D Active or passive.
5) Thinline electric guitar, 24.75" scale. The neck relief is in contention due to the thinline design, it may end up being straight with a recessed bridge - I will plan when my parts arrive. PAF style pickups, wound with more wire for a bit of a hotter output, but ultimately a super versatile pickup.
6) Jazz guitar - deep body, through neck, chambered, Walnut top, PAF Jazz pickups with 12 individual adjustable pole pieces on each... maybe un-necessary, but sure they come recommended.
My dad found a very simple but AWESOME idea for a router jig which will level even bad planks, it is just a set of parallel guides, bars for the router to run on and a level bottom surface. It works VERY well, so I will do a post entirely on that, but here is it in use:
Maple:
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Sepele (how beautiful is this wood!!!):
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It leaves you with a super finish and a planar board:
Couple of shots of a couple of laminate necks that I am building:
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I am levelling the neck out in this shot:
I am super pleased with the joints - tight :)
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I levelled out the 8 string body and prepared the laminate to create the laminate tops on this. Note that the design is old; the overall shape is ok but I am going to redesign it within its current size so that I don't have to build again - that would be pretty wasteful. Just a couple of curves I don't like. Can be totally sorted!
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This is 1 of the 2 wings, both currently in the front room hardening in the warmth - wood glue is useless beneath 10*c.
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That is all for now. I am expecting parts this week, so I can get on with cutting the necks to shape and get some things looking more like instruments!
God bless all :)
Mike
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