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Speaking of Blue Guitars from the other thread, is the Centura-esque guitar still on hold? Did you ever post any finished photos (or finished in current state?)
Thanks for asking. The top was clearly not working acoustically so I ended up putting another top on it. It's still, in my mind, D'aquisto influenced with no rosette and minimalist styling and really beautiful maple. Sort of a D'Aquisto Big Bouche.
I was working on it today, I'm spending a week at Miles End in Montreal with Josh and the rest of the geniuses here.
Hey Paul, since your in town there's a manouche show tonight at a place called la Brassée (2522 Rue Beaubien Est). Should be some good players; Christine Tassan, Michael-Paul Gurulé possibly Ugo Mancia.
Sounds good, I'll go, will you be there?
Yeah, I'm pretty sure. Btw, Ugo plays a Larkspur! Sometimes there's jams at these things, not sure about tonight.
Paul, that guitar looks beautiful!!! Can't wait to hear it. I wonder what effect the floating fingerboard will have on the tone - more surface area to vibrate?
Thank you!
I'm not sure exactly why but I think having the neck and body disconnected improves the general ability of the guitar to speak. I have ideas why but I don't know. The one thing I really like is that the upper frets aren't glued to the top of the guitar so it's much easier to keep the neck straight, it's all in sort of one mechanical system. The high notes seem to fret out really well.
I don't personally think the neck adds anything to the tone of the guitar but various issues that the neck and body have in the connection can take away tone and volume.
It is counter intuitive that a neck that's not rigidly connected to the body would sound better than one that is but in my experience it seems to work.
Absolutely! The number of times I see fretboards take a dive or a leap after leaving the body!! Arghhhh!!!!
That "hump" which develops around the ~14 fret after the instrument is a year or two old is one of the most annoying problem with Gypsy Jazz guitars. I've seen it from multiple luthiers and multiple vintages so I guess it's just a flaw in the Selmer design.
Paul, I've been following your guitar building on Facebook, since DIJ when I got to check out your awesome instruments in person. After DIJ I sent my guitar back to Craig Bumgarner to have him retro-fit my 2018 guitar with an adjustable neck. Having, now, had the experience of playing the same guitar for 6 years with a standard neck joint and then having the guitar modified with an adjustable neck, I 100% agree with your observation that the adjustable neck makes a guitar sound better. Initially, I thought my guitar sounded the same, but after a couple weeks I realized that the guitar was sounding better than ever. Not better in a way that was radically different from before, but better in that the guitar sounded more like itself than ever before. Kinda hard to explain in concrete terms. But everything I liked about the guitar was slightly enhanced, and the few things that I didn't like were reduced/more controlled. In general the instrument has a more balanced response now, and is just "better" in a general non-specific kinda way.
I love the way you build and experiment with ideas in your builds. Great stuff.