My New Website URL

[Kathy Matsushita]

I have moved my website --- “The Amateur Luthier” --- over to a new webhosting service (because I ran out of disk space on my Comcast account).  The Comcast site will still be there for a while, but it will not contain any new material, and I will eventually close it down.  (Right now, I’m slowly working on redirecting viewers of the old site to my new site.)

My new URL is:  theamateurluthier.com

Thanks.

 ---- Kathy Matsushita

 

[Paul Verticchio]

Hi Kathy & WELCOME :)

Great website. That model 5 you made is gorgeous :)

Take care,

Paul :)

[Kathy Matsushita]

Thanks, Paul!  I just spent an exciting morning redirecting all my old webpages to the new site....  I didn't realize I had that many pages on my site!!!!

[Hesh Breakstone]

Hi Kathy!

Thanks for the new link to your awesome site!!

[Kathy Matsushita]

Hey, Hesh!!!  How's everything going with you?  Miss you over at the OLF forum.  

[Hesh Breakstone]

Hi Kathy - I'm doing great and my once hobby of building guitars took a detour into the world of repair and restoration.  My business partner and I recently opened Ann Arbor Guitars and now I spend my days working in a high volume repair/restoration facility.  We have three Luthiers and in our community, Ann Arbor, a very loyal and appreciative clientel that includes a lot of area pros.

I just love it beyond words and this is likely the happiest that I have ever been with what I do for a living.

My hope is to get back to building in the future for fun but this time I will have much more knowledge as to why and how guitars fail.  This should help me be a better builder but for now I am having so much fun fixing OPS (other people's stuff) that building is not on my mind.  It's also nice to have the revenue stream reversed as well with it now coming in instead of only going out every time I saw a nice set of back and sides or a Adi top.... ;)

Anyway congrats again on the new site and thanks again for all of the info and inspiration that you have provided countless builders including me!!! 

[Kathy Matsushita]

Hesh:  Really glad to hear you're enjoying the repair and restoration business!  That's an area in which I am very weak.  Did I ever tell you that I had lived in Ann Arbor way back before I was five years old?  I was born in Detroit, and then we moved to Ann Arbor to some big old house with about two other families.  This was way back in the early '50's!  I don't actually remember much of it, since I was so young, though.

I retired from teaching English in May of 2012.  I am loving retirement!!!  Right now I'm starting to work with my old high school's woodshop teacher, to share guitarbuilding with the kids, and to help the teacher and students build a Martin guitar kit, and cigar box ukuleles with maybe up to 15 kids.  I'll be making up kits for that once I find out how many kids will be participating.  Should be fun.

[Thomas James]

Been following you for years now. Glad to see you're still having fun. Love the dog photos! 

[Peter Poyser]

Quote: "The Amateur Luthier"

 

 

Thanks you for sharing your new site, which I explored with interest.

It was heartily gratifying to see the curve of improvement, as you moved from project to project.

I've always been of the opinion, that where Guitar Building is concerned, Ladies can bring a particular finesse that excels.

During this past year, I have been pleasantly surprised at the media attention the book "Kalamazoo Gals" written by a fine American Guitar Enthusiast  has received.

In the past, the story of these women, appears to have been actively suppressed in America, perhaps by Gibson themselves. Thus people today, have reacted in a way that has given the impression, that few if any, knew anything about this war time work.

This startled me, as I readily recall that in the Sixties, a pal of mine who owned a large local Music Store which his family had owned for Two Centuries, telling me all about the fine work of the Kalamazoo Gals and the Banner Gibson's at considerable length when we were examining one. So we knew all about their superior work over here in the U.K. yet somehow, the knowledge of it, appeared to have been lost to time in America.

Oral knowledge is how many things were passed on here in an almost casual manner. Whatever the cultural and economic reasons, I am heartily pleased today to see a Lady so strongly enthused, in what must be an extremely demanding, but superbly rewarding occupation.

Well Done!

 

 

I note that the English Language is another interest.

For me it has been a special delight to grow up and live with neighbors nearby who are fine contributors to the English Language and English Literature.

C.S. Lewis, J.R.R. Tolkien, Desmond Morris (the Doyen of the American Talk Show Circuit) and a long list of others indeed, have added tremendously to my appreciation of Language and Wider Knowledge concerning many areas of Life.

Or you may have encountered the T.V. Programs of Sister Wendy and her many Books that give perspicacious insight into Fine Art. She was a student here of J.R.R. Tolkien and achieved the Highest Pass Mark ever, only equally by Sir Harold Wilson, who later went on to become British Prime Minister.

She lived here, studied and worked in almost complete isolation, and even today lives as a Hermit Nun. All the talks she gives in her T.V, Programs are completely unscripted and unrehearsed. She gives her thoughts, Live to Camera, entirely spontaneously. She's a very impressively talented Lady indeed.

But so endearingly humble, when they gave her an inside toilet for her dwellings, she was absolutely thrilled to bits, as a person can be.

I hope you will enjoy this little Movie below.

http://www.youtube.com/watch?v=XBthPUmi_eI

 

 

One of my old pals works as a compiler in the New Word Section of the Oxford English Dictionary, and it's interesting to observe how Language is enlarged and transformed over time.

In fact this is one area where the Oxford English Dictionary truly excels over other Dictionaries, as in use, it is possible to trace any word back to their first recorded true original source, and see how the word has evolved and transformed over time. I find it humorous and interesting to observe how some words today mean the exact opposite to that which they originally meant.

Another pal, is a World Authority on English Literature, but also a Great Human Being, a tremendous Jazz Fan, and used to regularly Play Piano at a Church I attended. All his children are named after All Time Jazz Great Musicians so every one of them has a peculiarly distinctive name. A little while back I saw a T.V. Program he and another Oxford Professor made on the Lyrics of the Beatles.

It was quite amazing to obverse their Famous Lyrics stripped back to their Original Conceptions and the entirely Subconscious Historic Literary Influences they were derived from, that John and Paul would have been exposed to, early in their lives, revealed.

It was utterly fascinating.

http://www.ccc.ox.ac.uk/Fellows/f/32/

http://www.oxfordchristianmind.org/people/valentine-cunningham/

 

 

I note that you gave a Guitar you made to your Worship Leader at Church.

Nothing you give to someone in such a sacrificial way is ever really lost to you. But comes back in a great many other forms and expressions of friendship and love.

This Local Group below gave virtually all their Musical Instruments and Sound Equipment away to help others in need. Within a few months, a New Mercedes Lorry came to them, along with one of the Largest High Quality P.A. Systems in the U.K. and a range of quite wonderful Prime Musical Instruments.

http://www.youtube.com/watch?v=Ea9wRLzq6sE

 http://www.youtube.com/watch?v=yYIV3iRkYEQ

The gentleman (sadly no longer with us) that Produced the Recording above, worked every day for years with Guitarist Jimmy Page, when Jim was a Session Musician.

He would pick me up for work every day when I worked with him, because like Lil' Jim, neither of us Drive Cars at all.

So have to be Driven everywhere.

 

 

Thanks for letting us know of your New Site.

And I do most warmly wish you, Every Possible Success with all your New Ventures and Future Luthier (It's a French word derived from Luth or Lute) Projects!

 

There's actually five different words for Lute.

But this one will do for us.

 

lute, noun1. 

 

/lu;t, lju;t/

ME.  

[Old French leüt, lut (mod. luth), prob. from Provençal laüt, from Arab. al-u'd wood (prob. repr. a Hispano-Arab. or N. African pronunc.): see AL-2. Cf. LAUD noun2, OUD.]

 

 1. A musical instrument having a body with rounded pear-shaped back and a neck, and having six to thirteen pairs of strings which are plucked (much used from the 14th to the 17th cents.). Also, any of a large class of stringed musical instruments having a body with a neck, including the classic lute and also bowed and flat-backed instruments. ME.

 

 2. A stop in some types of harpsichord. ME.

 

Comb.: lute harpsichord Hist. = LAUTENCLAVICYMBEL; lute-pin each of the pegs or screws for tuning the strings of a lute.

 

Every Good Wish!

P

[Kathy Matsushita]

Peter:

WOW.....what a nice, informative reply!!!  (That must have taken you a LONG time to write all that!)  I appreciate it, and really enjoyed the links you included.  Tell me more about yourself -- what kinds of instruments do you build?

[Peter Poyser]

Hi Kathy! 

I have been fascinated by and collected Musical Instruments since I was a small boy.

Understanding their Design Conception, History and Evolution, how they are Manufactured, how they Produce their Sound, the manner in which they Project it.

How they should be Optimally Cared for and Maintained, and most especially, how their Timbre is Colored  throughout their Compass, all these matters are of intense interest to me.

On this last point. No Composer better understood the differing Colours of Timbre, inherent in the Instruments of the Orchestra than Rimsky Korsakov. All Musical Instruments (even Pianos) have break points throughout their Range that mean the Tonality Projected in that part of its Range, will provide a differing Tonal Colour from its Spectrum.

 

May I recommend Rimsky Korsakov's  "Principles of Orchestration."

http://www.amazon.co.uk/Principles-Orchestration-Dover-Books-Music/...#_

http://www.benbotkin.com/2009/05/free-online-version-of-rimsky-kors...

http://www.northernsounds.com/forum/forumdisplay.php/77-Principles-...

 

The links, though helpful, will probably seem a bit too much to take in quickly. So here's an example of what I am writing about, focusing on the Guitar, that you will surely, readily appreciate.

http://www.youtube.com/watch?v=DJrEl4Nsmsg

 

 

The better we understand, all the Rainbow of Tonal Colour an Instrument avails to us throughout its Compass.

The better we can Compose and Orchestrate and allow the Instruments to "Tell the Story" interpretively, that we wish them to, Powerfully Evoking Emotion and Meaning.

The better we understand how a Musical Instrument generates its Sound and Projects it. The more able we will be able in a Recording Studio for instance, to Capture that Sound, and retain the Tonal Qualities we desire, for posterity.

 

An example.

Sometimes, no matter what you do, a Virtuoso Performer will be unhappy with the way their Instrument Sounds on Playback.

Usually, this is because (in the case of the Guitar) it is a Forward Projecting Instrument. However, the Virtuoso Performer only normally ever hears the Instrument Played, Off Axis to his Ear.

He hears its Tone, from the side of its Projected Sound. In such instances, if you place a Mic (or an additional Mic) over their Shoulder, near their Ear, so that the Tonal Colour of the Instrument they are familiar with and always used to hearing, is Captured...

The Musican suddenly becomes actuated, enraptured and driven to higher levels of Virtuoso Performance. I see Music Production, Conducting, Musical Direction which are primary concerns of mine, as all about being a Servant, rather than a Master. (Although I can do the other thing when warranted).

But for me, both by nature and deliberate choice,  it's about being an Enabler, a Facilitator, one who understands more broadly, with wider insight than the Specialist, and thus can create an environment and situation which can enable them to Perform at their Very Best. This of course, is precisely what they want to do, it just a matter of how to achieve that. Here, I've tried to provide examples I believe you will easily and readily grasp.

 

 

However,

The salient point it's worth noting, is that if you really understand how a Performer with a Musical Instrument, Together, Create Sound, then you are better placed to Capture and Record it.

Today, people utilise all kinds of Equalisers and Compressors to enhance their Sound. The truth is, if you simply have great Mics, and genuinely know where best to place them, then this in itself acts as an Equaliser, and you can obtain the Sound you most desire, simply by depth of knowledge and experience. In America, Al Schmitt and George Massenberg are Masters at this Approach.

 

 

Allow another example.

You will often view a Musician playing a Tenor Sax on T.V. where the Sound Engineer has placed the Mic on the Bell of the Instrument.

In point of fact, only few very bottom notes of that Instrument emanate from the Bell itself. Overwhelmingly, almost the Entire Compass of the Instrument is Actually Projected from the Saxophone Body. So if you point a Mic directly into the Body of the Instrument, precisely at the "G" note, here you will find a Sweet Spot for the Best Tone.

Again, invariably, when people Mic a Flute, they either place the Mic at the Mouthpiece for a Breathy Ethereal Sound, or at the other end for a Clean Clear Tone. In point of fact, if you place a Good Mic, in the centre between these two points, 18" above the Instrument there is another Sweet Spot in Tone.

Of course, it depends upon the Sound and Tone you want, but you might be amused to realise, that a little while ago a Concert was put on here at a Local Church. (Actually, the very Church where the famous Charity OXFAM was conceived and originated). The Concert involved 12 Orchestral Harps playing simultaneously. It just so happens that some time ago, I wrote a Paper entitled "12 Ways to Mic an Orchestral Harp".

Which was very handy!

 

 

Years ago, at the Advent of "Talkies".

Charlie Chaplin was in a Movie where he had to meet a "Baddy" for a Gunfight at "Noon".

They needed to Create the Sound of a Grandfather Clock, Tick Tock away the minutes, as they repeatedly cut Film back to it, heightening tension as the Climax of the Film approached.

James Blades (whose Fascinating Lectures I attended at the Holywell Music Rooms here at Oxford the most Illustrious Percussionist ever,  and Author of many Fine Books and indeed the Bible of Percussion Instruments), used Two Kettle Drums and placed a 22" Cymbal on top of each. With a Thick Half Crown Piece in each hand, he clicked the Bells of the Cymbals which resonated through the Drums to give a Solidly Resonant "Tick Tock".

It provided just the "Solid Tick" needed to "Tell the Story" through Sound.

http://en.wikipedia.org/wiki/James_Blades

 

 

You may be interested to learn that the War Time Messages of Sir Winston Churchill, were preceded by the opening notes of Beethoven's 5th Symphony.

During WWll, The British Prime Minister was greatly concerned that his Messages, Broadcast all over the World, could be emulated and false communications used by Enemies.

He wanted a Unique Sonic Signature to open and announce his Broadcasts and make them impossible to falsify. James, (who became a Percussionist after following Salvation Army Bands with a Big Bass Drum as a boy) had a Very Rare African Hand Drum that he said would be impossible to copy Sonically, and the best Solution.

So he used this with a Folded Handkerchief to change the notes as he Played, much to Sir Winston Delight. I've seen and heard James Playing this Rare Drum, the Entire World has Listened to at times of the most Intense Danger, with Rapt Attention!

A Small, Portly Man, he is also the Real Player of the Gong you hear at the start of Arthur Ranks Films that feature the Strong He Man with a Huge Gong. That was actually made of Cardboard.

Naturally, I have seen and heard James Play both the Sir Winston's African Drum and the Real Gong!

 

 

Here's a couple of his Students.

http://www.youtube.com/watch?v=IU3V6zNER4g

http://www.youtube.com/watch?v=IQutbAti5Vg

 

 

 

We can only do such things if we appreciate better than Virtuoso Players themselves, how Instruments are Manufactured, how they Create their Sound, how they Project their Tone into an Audience.

Here I am not merely referring to Guitars. I am interested in all the Musical Instruments of the Orchestra, and far beyond. Most especially The Origins and History of Musical Instruments is a Particular Fascination.

I began my working Life in the Music Business, worked as a Professional Musician and Musical Director. After I got married, I wanted to provide the most stable life possible for my family, and so move into Manufacturing Industry.

So today I have "an interest" in Manufacturing, and have been involved with a number of Brand Marques and involved in bringing innovative new Products to Market. These represent the Premium Sector of their respective markets, and are at the cutting edge of Design and Technology. Strangely, working with Great Corporations, Institutions and Organisations, some of which have a Charitable Status. I seem to have been able to accomplish far more, with Music than ever.

As you are interested in Making Musical Instruments, I feel you would have enjoyed a recent Local Exhibition, focusing upon the Life and Work of indubitably The Greatest Maker of Stringed Instruments that has ever lived.

http://www.youtube.com/watch?v=CVel-ilvXks

 

Good Luck with all your Instruments

 

 

P