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Guitar Building: The Journey, Not the Destination

guitartop

I like to make things. When I was young, I would ride my bike to the library to pursue the shelves, looking for a seed of inspiration that might lead to some new project. However, like most people, I never followed through on many of my most brilliant plans. Like the time I was inspired by a book about scientists who were studying the rainforest by creating a network of zip-lines high above the forest floor. I tried to raise money within my network of friends so that we could build our own network of zip-lines in the woods behind my house. Would have been so cool. Failed at the funding stage. Or the time I was inspired by a Popular Science article about how to build a personal hovercraft. Just imagine the adulation from your peers pulling into Jr. High on one of those babies. Oh, the glory that could have been.

There are many things that have been dreamt, but never made. But, that doesn’t change this fact: I like to make things. It is the reason I went to art school; It is the reason I became a software developer; It’s the reason I play music. Some people call it creative, but I think of it more as being interested in producing versus consuming.

Most of the things I make these days are accomplished with small increments of time. Music is good for this. You can do it for a couple of hours, and there’s no mess to clean up…that is, unless you’ve had too many drinks. Pinewood derby cars. They’re small. They take a couple of evenings. Your kid can win a trophy. How great.

But I still dream of those grand rainforest zipline projects. The excuse for not starting is always time and money, and maybe skill.

Recently I got an email from lmii.com, which is Luthiers Mercantile International Inc, for those not in the know, offering me a deal on a build-your-own-guitar kit. I got this email because years back I was going to build a banjo and ordered some supplies. Banjo never got built. Ran into funding issues…or was it skills issues, anyhow, I don’t want to dwell on that failure. The point is that I have since been on lmii’s mailing list, and for years, week after week, I’ve been receiving emails on all sorts of instrument building supplies. I’ve ignored every single one except the build-your-own-guitar email.

Guitar making has always held a special place in my I-like-to-make-things-heart. Guitars are made of cool woods. Their craftsmanship can be phenomenal. They make noise. What more could you want? Plus, I play guitar, and was recently inspired by this fellow I met over the summer that had recently finished building his eighth guitar.

So, maybe the timing of the email was just right, because it rekindled a dormant interest.

This time I plan to take action.

Where to start? Where else: Google. I spent a couple of evenings reading about the materials, the tools, and the process. Then I spent a couple more evenings reading about alternative woods, alternative tools, and, you guessed it, alternative processes. Enough to make your head spin. Building a zip-line network in Brazil would probably be easier.

Undeterred, I called the fellow I met over the summer and had a chat about my insanity. He didn’t think I was so insane. So, I bought a book on how to build a guitar. Now, the first time you outlay any real cash is an important hurdle that should be recognized. That is the moment at which you’ve convinced yourself that the dream is possible. If it weren’t possible, you’d never dole out cash for it.

The first important thing I learned was that in order to build a musical instrument, you need to make sure that your environment is conducive to building musical instruments. Huh? So, that means that if your room is too humid, your guitar will crack and fall apart when the dry air of winter sets in. So, the sage advice is, ‘get a room’.

the second thing I learned was that the first thing you build is not the guitar. The first thing you build are tools for building a guitar. Many tools. We’re not talking about screw drivers and pliers. Instead, strange contraptions like Go-Bar decks, and more common things like molds, templates and shooting boards.

Gobar deck

The third thing I learned was that tools are freak’n expensive. One way to cut cost is to buy old tools and refurbish. Hand planes are a good example of this. Old Stanley hand planes from the early 1900’s can be refurbished into great tools.
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Which leads me to the fourth thing I learned…how to refurbish old hand planes.
plane1
All this learning reminds me of why I like to make things. It’s about the process, the learning, the thrill of victory, the agony of defeat, and all the stories you get to tell at the end of your experience.

I recently told a friend about my endeavor. I confided that I can’t really honestly say if I’ll complete the project or be successful. He reminded me that it doesn’t matter. “You’ve already done something good, you’ve already learned something you didn’t know before.” And I thought, yeah, right, it’s about the journey, not the destination.

So, I’m gonna do my best – no promises – to make a journal of my progress. I want to do this for a few reasons. One, I want to remember all the things I did. Two, I’ve been inspired and have learned from the stories that others have told about their journeys. Three, I like to make things. But I guess I’ve already covered that.

So, let’s begin…

My workspace before I decided to build a guitar…
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I drew up a rough plan for how to improve my workspace. The basic ideas was to partition my basement so that I could create more usable wall space, shut out the noisy boiler, and control the humidity and temperature so that my guitar won’t explode six months after I build it.

plan

The actual results strayed a bit from the plan, but they were close. This is a composite picture made from a bunch of pictures, showing 360 degrees of the room…

Workspace

Here is a detail. You can see the boiler behind the door. Also, there is a window to the right to let natural light into the rest of the basement. Also to the right is a storage cabinets, clamp racks and shelving for storing wood.
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Here is a detail of the cabinet, clamp racks, shelf and window. The clamp racks were made with old copper pipe I found laying around. Oh, and lots of clamps from Harbor Freight Tools. Cheapest I could find. If one breaks, I’ll buy another.

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I also had this great idea that I could use my old shop vac for a basic dust collection system. The plan was to put an outlet on the outside of the room that my shop vac would plug into. The plug is controlled by a switch on the inside of the new room. Then I could leave my shop vac, which is noisy, outside the room and pipe it through the wall. I found a 25 foot piece of sump pump hose at home depot, went to the plumbing department, found some fittings, and connected the fittings to the wall and the hoses to the fittings.

shopvac

The problem with this plan, and I found out at the very moment that I was prepared to relish victory of my achievements, is that this twenty-five foot length of hose caused standing sound waves the moment I flicked on the switch. It made the loudest piercing sound I have ever heard. And remember, I’m a fifer, I am accustomed to loud piercing sounds. This was excruciatingly unbearable. I was crushed. Dreams dashed. Agony of defeat.

nothappy

A week later, I found a piece of 2 inch plumbing pipe nestled in my rafters. After determining that it was not attached to anything important, I decided to ditch the sump pump hose and replace it with the pipe, and extend that with a shorter hose that was designed for shop vacs.

Here is a final picture, of the other side of the room, showing this new hose that is curled up and attached to the band saw. the other end of the hose, which you can’t see, is attached to the 2 inch pipe, which essentially runs through the wall to my shop vac. Flick on the switch … dust collection heaven.

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And just for the record, here are some other key things I did:

  • Insulated
  • Wallboarded
  • moved some existing heating ducts
  • added a heating duct
  • resurfaced one of my benches
  • put casters on that same bench because I had to move it a million times.
  • Put in two doors. One to get into the room. And one to access my HVAC.
  • New lighting
  • Two new electrical circuits

Next on the agenda is to see if I can get the whole house humidifier working. Once the humidity and temperature are stable at 65-70 degrees and 45% relative humidity I will begin ordering wood and building molds. Yay!

guitar

Bird Song

I was sitting on the porch on a beautiful summer day, exploring the Collings guitar that recently entered into my life when I stumbled upon a new melody. I asked my brown eyed boy to give this new melody a name, and without hesitation he said, ‘Bird Song’.
 
So, I took this…
 

 
…and played it into this…
 

 
…and ended up with this…
 

live music

Sea of Ale and the Dock Street Mermaid

The following post was reposted from themariners.org. I found myself retelling a bit of this story a few times in the past weekend, and I felt this was personal enough that it should be reposted here.

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Back in nineteen-eighty-seven I was at the Westbrook Muster. While there I bought my first fife and drum recording. It was a white cassette of the first Mariner album, which had been released seven years prior. It was one of the few Westbrook Musters where I couldn’t wait for the weekend to end. I desperately wanted to hear what was on that tape, and to do so required making the trek back home where my boom box sat waiting for me in my Massachusetts living room.

The tunes started to roll, White Cockade, Adams and York, and Sailors Hornpipe. I was immediately drawn in. I was then seduced by the singing of Ruben Ranzo and the seamless transition to Clapboard Hill. All of it great and exuberant, but fully within the boundaries of what I had expected. I had, after all, been watching those barefooted bastions of sea music from the time I was a little boy and attending Sudbury Musters in the mid seventies. But, just as side one was coming to a close, the boundaries had been breeched.

Suddenly, from my crappy little speakers, came classical music fused with a complex matrix of fifes spinning around tunes that felt traditional, but not structured like other tunes I had learned. There were too many fifes for me to track and I went into a dizzy trance as the music moved from one tune to the next; a beautiful melodic waltz; a single fife sliding into a slip jig with the others soon in tow; tempo changes; slower; faster; reels; jigs; breaks; ornaments; teases; and something wild on the end that didn’t make any logical sense but seemed like the only way to end. I clawed for the liner notes, praying to God it wasn’t going to have some lame title like Sonata in D. It was…it was…The Sea of Ale and the Dock Street Mermaid. Miraculous!

I never made it to side two. I never made it back to the beginning of side one. I only used two buttons on the boom box; rewind; play; rewind; play; rewind; play.

Suddenly a new thought fell into my teenaged brain. I was going to join the Mariners. It had never even been a passing thought until that moment. But, now it seemed so clear. I would join, and soon I would be playing such masterpieces.

Not long after, 1988 to be precise, I went to my first Ancient Mariner practice along with my buddy Roger Hunnewell. But, what I found was that the Sea of Ale was nowhere to be found. It was a complex piece of music that nobody, in 1988, new how to play, and nobody could located the sheet music. What I subsequently learned, was that the music was complex enough that the Mariners needed to bring in a ringer for the recording. Alan Reed, the only non-Mariner to play on the Mariner album, was brought in to play one of the four voices on The Sea of Ale along with John Ciaglia, John Benoit and Skip Healy. Incidentally, none of those guys were still active in 1988 either. So, the road to The Sea of Ale looked bleak.

Through the decades there were efforts to pull the music together. Jason Malli, most notably, was able to find some badly damaged copies of the original Ciaglia chicken scratch. We leaned that The Sea of Ale was actually two different medleys glued together for the recording. The Admiral of the Narrow Seas and another called Get Off Your Ass. We also learned that it had never been performed live, thought I’m sure that statement will be hotly debated. We also learned that the original masters of the recording have gone missing. Maybe they will show up someday.
 
SeaOfAle
 
Work was started to diligently transcribe and edit the music from the hard-to-read copies into a clean, workable format. Then the newly transcribed music, all seventeen pages, sat for another decade, waiting for the right moment and the right men, with the right amount and right mix of energy. I’m happy to tell you that twenty four years after I first heard The Sea of Ale and the Dock Street Mermaid, the music has been brought back to life, performed first on a grand stage in Basel, Switzerland. For four and a half minutes Scott Redfield, Joe Mawn, Marc Bernier, Eric Chomka and myself had the honor to play this great music with Skip Healy in what felt like a passing of the torch.
 
SeaOfAle_Basel
 
For me the circle is now complete, and in my mind I keep hitting those buttons; play; rewind; play; rewind; play; rewind.

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Vivaldi in Chiesa San Vidal

There is nothing better than hearing live music performed where it was intended to be heard. Fife & Drum is best on an open field, traditional Celtic music is best in a dark, small pub over a few pints, ‘Take Me Out to the Ball Game’ is best with peanuts at the park, root’n on the hometown boys, and Vivaldi is best in Venice with the sound of the un-amplified strings reverberating off stone statues within a charming church just a few meters from the Grand Canal.

Here’s the first movement from a concerto in d minor.

Vivaldi – Concerto in dm by baconworks

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Flute & Guitar in Dorsodoro

Today, walking through Dorsoduro, just around the corner from the Santa Maria della Salute, we happened upon a couple playing on my two favorite instruments, flute and guitar. They were really superb and they chose a courtyard with perfect acoustics, which you can hear nicely in the recording. I would have recorded more, but my phone was almost dead. Uhg. Here is the bit I did record and posted to soundcloud:

Flute & Guitar by baconworks

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La Basilica di San Marco

Diane and I went to church this morning…in Venice! It was the best way to experience the Basilica of San Marco, a gem of Byzantine architecture. I’ve never been in a more grand building, that is, until just shortly after we left church and went to the Doge Palace.

Words, pictures and sounds won’t do the Basilica justice, but I can tell you that the inside glistened as light poured in and reflected of the gold lined domes in the basilica. And when the service started we were treated with a earth moving pipe organ, and a angelic choir, singing in Italian, of course. Now why don’t we do church music like this at home? Very inspiring indeed.

I did my best to discretely record the service and take some pictures, although neither were allowed. But, I did ask for forgiveness while I was there.

You can hear the recording at http://soundcloud.com/baconworks/basilica-san-marco

Or here:
Basilica San Marco by baconworks

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practice

Peggy ‘O

I recorded this version of Peggy ‘O on my iPhone the other night while practicing for a show in July. It was the first time we tried banjo with it…and I quite liked it. Mark Evans on banjo, Luke Stark on bass, and I on guitar and vocals.

 
Peggy’O by baconworks
 
I first heard Peggy ‘O on a recording of the Dead from the seventies. It was one of those moments where I was completely captivated by the combined beauty of the melody, the story, and the way the Grateful Dead wove together the piano, bass and guitars. It was the only song I listened to for at least a week.

Here is a youtube video of a Dead version of Peggy ‘O from the seventies. Not as much piano in this version as the one I fell in love with. But still, you get the sense of what a powerful ballad this was. If you don’t get chills at least once during this performance…well…I’ll get off my Head soapbox now.
 

new music

Video of the Week: The Autumn Leaf

I’m gonna make a concerted effort to post at least one video a week of something musical. The only rule is that the video will be one that I took. I will not be reposting video’s of my new favorite band, The Avett Brothers, who have a very deep repertoire of some of the best songwriting I’ve heard in years, or versions of Phish’s brilliant Split Open and Melt, which some have called the “best sounding chaos you will ever hear”, or even gems from the Transatlantic Sessions. Nope, none of the above. Instead, I will post just videos of people I know that make great music…and maybe a few from me.

Here is the first from my buddy Mustachio. He is playing a tune that he recently wrote. He didn’t have a name for it…so, in the interest of getting this video posted, I named it for him. The video is from April 12th, 2011 at John Stone’s Public House in Ashland. He played this after everyone had pretty much gone home, which is always the way it works. Musicians know that the best stuff is always played when no one is around to hear it.
 

live music

Farewell to Fiunary

Late at night, after the session ends at John Stone’s in Ashland, Mustachio and I usually try to sneak in a bit of practice before they throw us out. One night in February I decided to see if there was enough light in the room to record us running through Farewell to Fiunary. We almost had a near disaster when the waitress came over shortly after recording this to pick up a bunch of empty pint glasses that were sitting on a stool. What she didn’t realize was that pint glasses were sandwiching my iPhone, which was carefully balanced on its edge while recording. This could have been a really expensive video. Fortunately, I was able to leap up in time to catch the phone before it plummeted to the floor…and here is the video that was on it.