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Andyjr1515 last won the day on July 13 2019

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  1. Ah...not Fairport. I'll reveal what and who did the original in the morning
  2. Good heavens. Well, assuming that's right, then there's a man who knows his music! (In all probablility) Gold Star & smiley face
  3. Hi @GarethFlatlands Hmmm...that is indeed quite a thick fretboard. Does that mean that your trussrod slot at the nut is quite close to the bottom of the neck or is it a deep-ish neck? Anyway, that aside, I wouldn't head down the L-shape tenon route - it worked great but I'm sure that was more by luck than judgement Easiest and safest is to deepen the neck pocket of the body - there's plenty of meat at the bottom of the pocket and so you really won't have any issues strength-wise.
  4. And so, as a post-script. P and his delightful wife arrived last weekend to pick up the Guitar Bouzouki. And I think he would be happy in me saying he loves it For me, that is a great pleasure and relief in equal measure! P was able to bring his standard Irish Bouzouki for me to have a look at and listen to and that was fascinating. We both agreed that the Guitar Bouzouki has a much richer sound (which would be hoped and expected) and a strummed chord just goes on, beating sub-harmonics all the way, for a long, long time. The neck between the two instruments was quite different, part designed and fully expected and part more of a surprise. P had requested it to be wider and shallower than his original which will always change the curves and feel, but the thing I noticed straightaway was that the 'V' on the original felt distinctly V shaped to the hand further up the fretboard than my build. It doesn't really show on the profile drawings but it does give it a different feel further up the board. Not necessarily a bad feel, but certainly a different feel. Changing that, if P's conclusion was that he wanted that tweaking, is actually a very easy fix and the sort of thing that can be done on a 'while you wait' basis. And there's a crazy coincidence (that I won't go into detail on) that might mean that finding a convenient time to do that would not be too much of problem. But, that said, even at first play, this is P showing how a Guitar Bouzouki should be played. Glorious! And particularly glorious through headphones
  5. I might even have mine back from Matt Mariott by then!! Hmmm...pro-musician...hard times.... No, that's alright - I was forgetting, they're both my own designs. Happily, they will be worthless to the discerning buyer
  6. Well. there's a rumour that there might be an interesting bass project on the horizon
  7. Well....there's nothing quite like a transparent red stain....
  8. Looks absolutely first class. Great looking bass on any terms...but as a first build it's astounding!
  9. Anyway, you know the answer when the conversation starts wandering off into technical areas I don't fully understand - just throw in a few gratuitous arty-f**ty photos : P picks it up at the weekend
  10. Easiest to consider a violin where the bridge is so much higher. The string wants to be straight between the tuners and the tailpiece. Then you stick a 2" high bridge in the middle. The downward force on that bridge is enormous. The question is probably more whether my statement that an acoustic bridge is being pulled upwards is correct. Theoretically, it is being pulled sideways. But in actual measurable practical terms, the top is lifting under tension. And an old acoustic will sometimes lose the stiffness and lift more, resulting in the need of a neck reset. Where's a Finite Element Analysis when you need one
  11. I used to have those problems all the time, especially with routing pickup chambers. In the end, I realised that you can get really short top bearing cutters. Axminster used to do a diddy one but Wealden certainly do: https://www.wealdentool.com/acatalog/Online_Catalogue_Template_Trim_279.html
  12. Thanks - you are very kind Yes - that was in P's original spec. As far as I can gather, the majority (though not all) of guitar bouzouki's have this arrangement, probably from the initial concept of 'I wonder if you could fit a bouzouki neck to an acoustic guitar?' It is interesting, though. With a tailstock and bridge, like a mandolin, the pressure is downwards on the bridge and the top. I'd never thought about it before, but on an acoustic - and likewise on this - the string tensioning is lifting the top. If it didn't mean taking another three months to build one, it would be interesting to build an identical one with a tailstock/bridge combination and see what the tone difference would be.
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