2009.09.29 12:08
Somervell Guitars ?
(*.58.33.131) 조회 수 14196 댓글 3
웹서핑 중에 Doug Somervell 이라는 제작가의 기타를 보았습니다.
이 제작가에 대한 정보나, 아래 페이지에 올려진 사진들에 대하여
어떻게 생각하시는지 궁금하네요.
제작가의 인지도나 그 작품들은 어떻게 평가되고 있는지
궁금해서 찾아보았는데, 딱히 정보가 없네요.
http://www.facebook.com/album.php?aid=139666&id=664138102&l=e1d31863af
좋은 자재를 썼다는 것 정도 느껴지는데 마감상태는 그리 좋아보이지 않군요.
브라질리안 규격 나오는게 없었는지 후판이 4pc구요.
가격정도도 알 수가 없고... 흠
Finally compete, this guitar was begun in 2000 and the label dates it as a 2008. The top is "German Spruce" with some grain figures known as Bear Claw. It is a very attractive spruce top with some nice color variations, the tight grain is remarkably even across the entire width. The back, sides, bridge, and head veneers are all from the same board of Brazilian Rosewood that my departed friend Ralph Vaughn gave to me for helping him move in the late 80's. He said it had been given to him by a friend 20 years prior to that. It is the very epitome of Brazilian Rosewood. Since this board was narrow the back is 4 pieces book matched on the center and flipped and matched on the outside. I bound this guitar with Curly Koa left over from a project for Paul Wilson several years ago. It's a striking yet very pleasing contrast and the curl just shimmers in the light helping to making this one of, if not my most, attractive guitars ever. The Neck is ribbon stripe Mahogany, perfectly quarter sawn, carbon fiber reinforcement rods for strength and a higher resonant frequency response . The head is attached with the "arrowhead" joint; but pointing in the opposite direction from the way Hauser did his. The fingerboard is top grade, jet black ebony with a high 'c' extension and it's bound in Koa with abalone side position markers at 5, 7 and 9. The sound hole rosette is of German origin as are the purflings. The bridge tie block is Elephant Ivory, Curly Koa and purflings to match the bindings. The scalloped nut and the saddle are pre-ban documented Elephant Ivory.
The bracing pattern is a variation of a 7 fan Torres bracing system with a diagonal bar on the treble side and I have also incorporated some graphite reinforcement bracing in critical areas to increase stiffness and keep weight low. The bridge plate is cedar and tapers all the way out to the sides of the guitar.
Scale length is 660 millimeters. 54mm width at the nut. 2 1/4" string spacing at the bridge.
The tuning machines are temporary. I want the final customer to have a say in what tuners are purchased and that may have an affect on the final sale price. The pㅇst spacing is the standard 35mm. There are many excellent tuners available today and prices vary widely.
이 제작가에 대한 정보나, 아래 페이지에 올려진 사진들에 대하여
어떻게 생각하시는지 궁금하네요.
제작가의 인지도나 그 작품들은 어떻게 평가되고 있는지
궁금해서 찾아보았는데, 딱히 정보가 없네요.
http://www.facebook.com/album.php?aid=139666&id=664138102&l=e1d31863af
좋은 자재를 썼다는 것 정도 느껴지는데 마감상태는 그리 좋아보이지 않군요.
브라질리안 규격 나오는게 없었는지 후판이 4pc구요.
가격정도도 알 수가 없고... 흠
Finally compete, this guitar was begun in 2000 and the label dates it as a 2008. The top is "German Spruce" with some grain figures known as Bear Claw. It is a very attractive spruce top with some nice color variations, the tight grain is remarkably even across the entire width. The back, sides, bridge, and head veneers are all from the same board of Brazilian Rosewood that my departed friend Ralph Vaughn gave to me for helping him move in the late 80's. He said it had been given to him by a friend 20 years prior to that. It is the very epitome of Brazilian Rosewood. Since this board was narrow the back is 4 pieces book matched on the center and flipped and matched on the outside. I bound this guitar with Curly Koa left over from a project for Paul Wilson several years ago. It's a striking yet very pleasing contrast and the curl just shimmers in the light helping to making this one of, if not my most, attractive guitars ever. The Neck is ribbon stripe Mahogany, perfectly quarter sawn, carbon fiber reinforcement rods for strength and a higher resonant frequency response . The head is attached with the "arrowhead" joint; but pointing in the opposite direction from the way Hauser did his. The fingerboard is top grade, jet black ebony with a high 'c' extension and it's bound in Koa with abalone side position markers at 5, 7 and 9. The sound hole rosette is of German origin as are the purflings. The bridge tie block is Elephant Ivory, Curly Koa and purflings to match the bindings. The scalloped nut and the saddle are pre-ban documented Elephant Ivory.
The bracing pattern is a variation of a 7 fan Torres bracing system with a diagonal bar on the treble side and I have also incorporated some graphite reinforcement bracing in critical areas to increase stiffness and keep weight low. The bridge plate is cedar and tapers all the way out to the sides of the guitar.
Scale length is 660 millimeters. 54mm width at the nut. 2 1/4" string spacing at the bridge.
The tuning machines are temporary. I want the final customer to have a say in what tuners are purchased and that may have an affect on the final sale price. The pㅇst spacing is the standard 35mm. There are many excellent tuners available today and prices vary widely.
Comment '3'
-
글쓴이의 의도는 알수 없지만 최동수 선생님의 댓들을 보니
왜저런 기타를 만드는지 ..
참 이상한사람이 많습니다.
재료가 소리를 만드는것이 아닐지언데 -
윗분 무슨 말씀을 하시는건지.. 물론 재료가 좋다고 무조껀 소리가 좋은건 아니지만,
기본적으로 재료가 되어야지 어느정도 소리가 나오는거 아닌가요..?
그럼 합판기타랑 원목기타랑 다를게 없겠네요. 재료가 소리를 만드는게 아니라면...
그렇다면 유명기타제작자들은 왜 좋은 재료만을 고집할까요 ..?
기존의 사람들이 하지 않은 창의적인 제작인데 이상한사람이라고 표현하다니 진짜 이상하신분이네요.
다수나 일반적인 것과 다르면 이상하다고 생각하는 래디컬한 사고는 나쁜 것이니 고쳐야합니다.
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Designed by sketchbooks.co.kr / sketchbook5 board skin
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
전혀 알지 못하므로, 나름대로 개인적인 관찰소견만 말씀드리렵니다.
이분은 팔기는 하지만 취미로 제작활동 하는 분 같습니다.
연구심이나 흥미가 아주 많은 분으로 좋다는 재료와 방법은 모두 적용했군요.
- 지판 양쪽에 코아목을 붙이거나, 퍼플링과 바인딩도 아쿠스틱 기타와 같은
취향의 느낌이 듭니다.
- 부챗살재료로 스프루스와 시더를 혼용하고 카본그라파이트도 붙였네요.
- 또 헤드머신은 구매자가 고르거나 사오도록 할 생각이군요.
- 무엇보다 제작기간이 8년이나 경과되었는데 아직 완성이 덜 되었다는 점.
- 브릿지 마감이 깨끗지 못한 이유는 아직 마무리가 덜되어서 그럴겁니다.
- 전면판은 로세테 붙인후에야 사운드홀 위치가 잘못된 것을 발견하여 뒤집어서
다시 뚫었군요.
전면판재가 흔히 곰발바닥이라고 부르는 아름다운 재료일뿐아니라,
나이테가 중앙에서 주변까지 일률적으로 균일하게 촘촘한 아주 좋은 재료라
아까워서 그랬으리라 이해합니다.
- 뒷판재는 통목을 네쪽으로 갈라내어 북매치형식으로 무늬를 맞췄군요.
측후판재 뿐아니라 헤드플레이트와 브릿지까지 한나무에서 잘라낸겁니다.
재료가 아주 우수하고 마음에 들기에 네쪽을 이어붙여 만든듯 합니다.
악기재료는 미학적인 조화도 중요하지만, DNA가 같을수록 공명이 잘되겠죠.
명장 토레스는 뒷판뿐 아니라 전면판도 네쪽을 이어서 만든 명기가 있습니다.
만약 재료가 너무나 좋은거라면 당연히 이어서라도 사용해야 되겠지요.
근래에도 오래된 가구를 해체하여 나온 재료의 폭이 부족하면 몇쪽을 이어붙이는
사례는 많이 있습니다.
고 엄상옥님의 유명한 남대문기타도 전면판이 네쪽으로 이루어져 있습니다.
참고로 이번 대전기타페스티벌에서 200년된 하카란다로 만든 마감도 깔금한
외국기타를 봤는데 소리가 꼭