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bernhard kresse werkstatt fur konzertgitarren und historische gitarren
Description
I am particularly interested in the guitar of the early 19th century. The instruments described as "Romantic guitars" or "Biedermeier Gitarren" are of smaller shape. They comply with the acoustic aesthetics and musical demands of this period.
The presented photos on this page are reproductions of instruments by the most famous guitarmakers of the time:
Stauffer, Lacote and Panormo. Models of other guitars, terz-guitars, more string-guitars etc. are at my disposal either with drawn up formes or construction plans.
For detailed information please contact me.
Prices between € 3000.- and € 4500.- depending on model and design.
Apart from conventional standard and reconditioning repairs I also carry out extensive restoration in my workshop. In most cases the aim of restauration is a playable instrument for musicians. Depending on condition and rarity of the instrument a pure conservative work may be more important. This decision must be made with the owner before restoration. I see conservative work as making each step of the restoration reversible. Therefore it is of utmost importance to use only soluble glutin-glues which have been used traditionally for centuries by violin makers.Another priority is the preservation of all parts of the instrument in its complete substance including the varnish. The replacement of complete parts in case of destruction or worm damage is always the last and very worst choice of possibilities.
Due to the revival of classic and early romantic literature in connection with performance practize the instruments of this period meet with increasing interest. Besides famous names as Lacote and Stauffer you can find quite a few "second best" makers who built excellent instruments on a very high standard of acoustics and craftsmanship.
During the last 15 years I have restored a considerable number of instruments for customers worldwide. They are beeing used for concert performance or CD-recordings ...
The presented photos on this page are reproductions of instruments by the most famous guitarmakers of the time:
Stauffer, Lacote and Panormo. Models of other guitars, terz-guitars, more string-guitars etc. are at my disposal either with drawn up formes or construction plans.
For detailed information please contact me.
Prices between € 3000.- and € 4500.- depending on model and design.
Apart from conventional standard and reconditioning repairs I also carry out extensive restoration in my workshop. In most cases the aim of restauration is a playable instrument for musicians. Depending on condition and rarity of the instrument a pure conservative work may be more important. This decision must be made with the owner before restoration. I see conservative work as making each step of the restoration reversible. Therefore it is of utmost importance to use only soluble glutin-glues which have been used traditionally for centuries by violin makers.Another priority is the preservation of all parts of the instrument in its complete substance including the varnish. The replacement of complete parts in case of destruction or worm damage is always the last and very worst choice of possibilities.
Due to the revival of classic and early romantic literature in connection with performance practize the instruments of this period meet with increasing interest. Besides famous names as Lacote and Stauffer you can find quite a few "second best" makers who built excellent instruments on a very high standard of acoustics and craftsmanship.
During the last 15 years I have restored a considerable number of instruments for customers worldwide. They are beeing used for concert performance or CD-recordings ...
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Aug 26, 2005
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introduction to the guitar wiring section with cautions and warnings.
Many of the modifications herein apply specifically to Stratocaster™ type guitars but the principles, and especially the sections on theory, apply to any electric guitar. There are many things you can do to your Strat™ to change the way it sounds and improve versatility. Unless you have a very cheap guitar with lousy pickups, I would urge you to experiment with some of these inexpensive modifications before spending a lot of money to replace your pickups.
Another thing you should consider before spending a lot of money on guitar upgrades is the amplifier you are using. Even the best guitar is not going to display its potential when played through an inexpensive, tiny, solid-state practice amp with an eight inch speaker. On the other hand a really good amp can make even an inexpensive guitar with weak pickups sound much better ...
guitar guitarist noise music technical player protips playing shop wiring tone amp amplifier
Many of the modifications herein apply specifically to Stratocaster™ type guitars but the principles, and especially the sections on theory, apply to any electric guitar. There are many things you can do to your Strat™ to change the way it sounds and improve versatility. Unless you have a very cheap guitar with lousy pickups, I would urge you to experiment with some of these inexpensive modifications before spending a lot of money to replace your pickups.
Another thing you should consider before spending a lot of money on guitar upgrades is the amplifier you are using. Even the best guitar is not going to display its potential when played through an inexpensive, tiny, solid-state practice amp with an eight inch speaker. On the other hand a really good amp can make even an inexpensive guitar with weak pickups sound much better ...
guitar guitarist noise music technical player protips playing shop wiring tone amp amplifier
Category:
First, carefully remove the old cork from the tenon. This should be scraped off without damaging the tenon itself. Remove the glue residue with an appropriate solvent. Keep alcohol away from plastic clarinets. Alcohol will cause plastic clarinet bodies to crack and craze. A safe solvent to use is Mineral Spirits. It will remove most contact -type cements.
Once the tenon is cleaned, you need to measure the width of the slot in the tenon so you can cut your cork. This done, put a coat of contact cement on the tenon and set it aside.
We need to make the cork with a slight bevel to fit into the cork slot tightly. The best way to do this is to use a metal ruler as a straightedge and cut off a small amount of the sheet cork by placing your cork knife or single edged razor blade at an angle, (down and to the left), and drawing the blade the full width of the cork. This will give you one beveled edge to work from. Now turn the cork over so the beveled edge is facing up and on the right hand side. Measuring from the inside/top edge of the bevel, mark the width of your cork slot at both the top and bottom of the cork. I like to use the back side of my cork knife to press a mark into the cork, but any thin mark will do You should now have the bevel on the right, and 2 marks on the cork to the left. Place your ruler on the marks, and cut the cork so as to cut the second beveled edge, again down and to the left. You should now have a strip of cork which the narrower bottom side will fit your tenon nicely. Remember, the beveled edge goes down into the slot. The left over material on top will be removed shortly.
The final preparatory cut is to cut the bevel for the lap joint. With the beveled side of your tenon cork facing up and horizontally placed in front of you, cut a bevel on the right hand end of the cork; again down and to the left. This bevel will be used to form a lap joint that will be smooth and strong. With the cork still in this position, horizontal, with end-lap on the right, apply an even, thin coat of glue to the cork. Now turn the cork over, and apply glue to the lap joint bevel on the other side of the cork. Let the glue dry.
Now we must install the cork onto the instrument. What we want to accomplish is to have the lap joint wind up on the back side of the instrument, i.e., the side of the instrument opposite the label.
Holding the instrument in front of you with the glued tenon up and the side of the instrument with the label facing you, place the cork onto the slot so that the lap-joint bevel is on your left and hanging over the side about 1 inch.. Apply the cork with such light pressure that the cork may even fall off under its’ own weight. Do not press the cork down into the slot yet. Now is the time to check that the cork is straight in the slot and perpendicular to the bore of the instrument.
When you are certain that the cork is in the correct place, press the cork firmly into the slot. Start at the middle, and work to the left, towards the lap joint. Work a little at a time and keep the cork straight in the slot. When you reach the lap joint, wipe off your thumb to remove any oil, and carefully press the bevel firmly into the slot. Now go back to the middle of the cork strip again and work to the right until you come to the lap. Press the cork into the lap bevel tightly so as to avoid any gaps under the cork. Cut the leftover cork strip even with the lap joint ...
Once the tenon is cleaned, you need to measure the width of the slot in the tenon so you can cut your cork. This done, put a coat of contact cement on the tenon and set it aside.
We need to make the cork with a slight bevel to fit into the cork slot tightly. The best way to do this is to use a metal ruler as a straightedge and cut off a small amount of the sheet cork by placing your cork knife or single edged razor blade at an angle, (down and to the left), and drawing the blade the full width of the cork. This will give you one beveled edge to work from. Now turn the cork over so the beveled edge is facing up and on the right hand side. Measuring from the inside/top edge of the bevel, mark the width of your cork slot at both the top and bottom of the cork. I like to use the back side of my cork knife to press a mark into the cork, but any thin mark will do You should now have the bevel on the right, and 2 marks on the cork to the left. Place your ruler on the marks, and cut the cork so as to cut the second beveled edge, again down and to the left. You should now have a strip of cork which the narrower bottom side will fit your tenon nicely. Remember, the beveled edge goes down into the slot. The left over material on top will be removed shortly.
The final preparatory cut is to cut the bevel for the lap joint. With the beveled side of your tenon cork facing up and horizontally placed in front of you, cut a bevel on the right hand end of the cork; again down and to the left. This bevel will be used to form a lap joint that will be smooth and strong. With the cork still in this position, horizontal, with end-lap on the right, apply an even, thin coat of glue to the cork. Now turn the cork over, and apply glue to the lap joint bevel on the other side of the cork. Let the glue dry.
Now we must install the cork onto the instrument. What we want to accomplish is to have the lap joint wind up on the back side of the instrument, i.e., the side of the instrument opposite the label.
Holding the instrument in front of you with the glued tenon up and the side of the instrument with the label facing you, place the cork onto the slot so that the lap-joint bevel is on your left and hanging over the side about 1 inch.. Apply the cork with such light pressure that the cork may even fall off under its’ own weight. Do not press the cork down into the slot yet. Now is the time to check that the cork is straight in the slot and perpendicular to the bore of the instrument.
When you are certain that the cork is in the correct place, press the cork firmly into the slot. Start at the middle, and work to the left, towards the lap joint. Work a little at a time and keep the cork straight in the slot. When you reach the lap joint, wipe off your thumb to remove any oil, and carefully press the bevel firmly into the slot. Now go back to the middle of the cork strip again and work to the right until you come to the lap. Press the cork into the lap bevel tightly so as to avoid any gaps under the cork. Cut the leftover cork strip even with the lap joint ...
Category:
Making Andean Panpipes,
Robert W. Templeman,
Assistant Professor of Ethnomusicology.
Native Americans of the highland Andes in Bolivia and Peru, Quechua and Aymara-speaking Native Andeans, call the panpipes they play "siku" (pronounce Aymara and Quechua words as you would Spanish [sē'-ku). Highland Native Andeans are often bilingual, speaking Spanish in addition to their Native Andean language. The Spanish word they use for a panpipe is "zampoña." In Quechua and Aymara they refer to the music they play on panpipes and to its associated dance as "sikuriada" They make their panpipes from thin cane that grows in the lowland valleys of the Andes mountains ...
Robert W. Templeman,
Assistant Professor of Ethnomusicology.
Native Americans of the highland Andes in Bolivia and Peru, Quechua and Aymara-speaking Native Andeans, call the panpipes they play "siku" (pronounce Aymara and Quechua words as you would Spanish [sē'-ku). Highland Native Andeans are often bilingual, speaking Spanish in addition to their Native Andean language. The Spanish word they use for a panpipe is "zampoña." In Quechua and Aymara they refer to the music they play on panpipes and to its associated dance as "sikuriada" They make their panpipes from thin cane that grows in the lowland valleys of the Andes mountains ...
Category:
Tony Vines Guitars - Fine Handcrafted Acoustic Guitars.
Tony Vines has been building guitars for nearly 15 years. After many years of research Tony has fine tuned what he believes to be one of the finest handmade guitars available today. All guitars are hand made one at a time using materials that produce the finest aesthetics and tone possible for each individual customer. All parts are made in house to achieve total control and consistency.
After building many different body styles, Tony chooses to produce what he believes to be the most versatile guitar of them all, The Artisan Grand Concert. This is a deep, 15 inch body guitar that produces balanced frequency response for all the strings. The Artisan Grand Concert also utilizes a 25.7 scale length and a high gloss, hand rubbed finish. The low neck profile along with the 25.7 scale length makes these guitars a “dream” to play.
tony, vines, taylor, artisan, carter, fold, martin, olson, acoustic, guitars, kottke, koa, walnut, rosewood, maple, Sitka, Engelmann, mahogany, spruce, cedar, 12-string, wood&steel, catalog, strings, music, gallery, limited, bolt-on, florentine, Fishman, bracing, inlay, purfling, kerfing, bridge, saddle, scallop, tusq, frets, humidity, humidifier, truss rod, UV, ultraviolet, intonation, tone, solid wood, signature, presentation
Tony Vines has been building guitars for nearly 15 years. After many years of research Tony has fine tuned what he believes to be one of the finest handmade guitars available today. All guitars are hand made one at a time using materials that produce the finest aesthetics and tone possible for each individual customer. All parts are made in house to achieve total control and consistency.
After building many different body styles, Tony chooses to produce what he believes to be the most versatile guitar of them all, The Artisan Grand Concert. This is a deep, 15 inch body guitar that produces balanced frequency response for all the strings. The Artisan Grand Concert also utilizes a 25.7 scale length and a high gloss, hand rubbed finish. The low neck profile along with the 25.7 scale length makes these guitars a “dream” to play.
tony, vines, taylor, artisan, carter, fold, martin, olson, acoustic, guitars, kottke, koa, walnut, rosewood, maple, Sitka, Engelmann, mahogany, spruce, cedar, 12-string, wood&steel, catalog, strings, music, gallery, limited, bolt-on, florentine, Fishman, bracing, inlay, purfling, kerfing, bridge, saddle, scallop, tusq, frets, humidity, humidifier, truss rod, UV, ultraviolet, intonation, tone, solid wood, signature, presentation
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