Ken Parker Archtoppery - The Neck Journey 2) A Look at Neck Systems
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- Опубліковано 24 гру 2024
- An historical tour of guitar neck development..
Link to a Stradavarius guitar performance video:
www.stradivari...
Link to The D'Aquisto video playlist:
The D’Aquisto:
• Ken Parker Archtoppery...
Link to Ken Parker Archtoppery - The Neck Journey - 5) Neck Creep: (forthcoming)
Always a pleasure Ken! Thank you for another wonderful video!
My pleasure!
Ken, thank you for sharing your knowledge with the guitar building community. You've bridged major chasms of guitar physics knowledge with the work you've done over the years and it is fascinating to see the processes you've developed to overcome the standard approach to guitar building. I can't tell you how much I'm looking forward to the future videos in this series.
My pleasure!
History lesson! I want Creep Mr. Ken! Double the pleasure this morning, and I won’t persist with the twenty questions that were brought up in the last forty five minutes. You consistently amaze me with the depth and detail that pours out every time you post. Yes!
Excellent!
Great video, tons of information with useful nuances as always. Thank you master 🙏
My pleasure!
Once again thank you Ken.
So Welcome!
3 incredible guitars on your bench!.....thanks Ken!
Glad you like them!
I was welding up some steel tubing gates while doing fencing years ago. I went to the fence supply store and asked for the tension rod with the turn buckle that spans diagonally on a gate for future adjustments. When I asked for this rod material the guy said, "Oh you need a Truss Rod, yes we have that" I was a little taken aback by the terminology but after some thought realized the parallel.
New to me. I looked and looked and couldn't find another use for the phrase "truss rod" before the 1921 Gibson patent application for the hidden adjustable rod. Who knows, though, the regional usage maybe?
Wikipedia says there is earlier usage but doesn't say where,
en.wikipedia.org/wiki/Truss_rod
Good morning Ken, I want my neck to go to 11 please. Loving this series my friend....James
11 is the goal for all of us!
Ernie ball 8's at std tuning clock in at ~78 lbs as I recall. I use Stringjoy's calc. My guitar shop burned down 6 weeks ago (with 96 guitars inside). This series is just the motivation I need to get back to building.
What a horror! So sorry for your loss! Here's hoping your insurance company loves you!
seems like the .008"'s are the same tension as hard tension nylon strings, then. Good to know.
Best luck!
Very interesting episode Ken.....Thanks!
Glad you enjoyed it
I always learn, thank you.
Great, Me too!
Informative video. Thanks!
Glad it was helpful!
Just did a pretty wide glue up, for my soundboard, and and I only have 2 clamps and my workbench vise that go this wide, and so I figured that by using your ''spring glue joint'' idea, I could strategically place my clamps a little bit from the edge of the boards, as the boards would get pressurized there from the spring effect in the middle. So that's another advantage, you need less clamps for your glue ups
You are so right about this, in fact, you should only need one clamp in the center to bring the surfaces together perfectly if you do it correctly.
It seems like it would be obvious that if the parts fit correctly, only a trivial amount of force should be needed to hold them in place while waiting for glue to dry or set-up.
Spanish builders do withhut commercial clamps altogether, often using a group of simple parts like straight sticks, wooden wedges and rope! I have used masking tape for cross grain clamping, so there's a good example of the way perfect fits can be brought together with small clamping forces.
Here's some comedic relief, along with the practical method...
thedutchluthier.wordpress.com/2017/07/28/joining-guitar-tops-with-fire/
Have you ever went into any details about how you came up with your unique sound hole idea?
I promise we will unpack this whole subject in detail in a dedicated video, but if you have a look at this movie, it will help you think this through as I address the behavior of the top with (violin) and w/o (guitar) the bow.
studio.ua-cam.com/users/videoGeSTwjA3GSA/edit
Until then, I can leave you with my corny "stock" answer about the soundhole location, that it is in the best place for the player, and the "least worst" place for the soundbox!
Nice one Mr Ken🙂
Thanks!
You inspire me do better work ,love your posts!
Wow, thank you!
Hello! do you use stainless steel frets in the fingerboard of your archtop guitar ?
I believe Ken Parker was a big pusher of stainless steel frets back in the day I imagine he still has them as an option!
I have never used SS frets in my work, although I did use them in repair years ago when they were first available.
I much prefer and have used exclusively since 2005 the bronze frets known commercially as EVO, formerly supplied by Jescar. I'm not quite certain what the score is right now, as the product has been discontinued by the German manufacturer in 2023. Surely someone knows who has stepped in to fill this need??
@@kenparkerarchtoppery9440 I was under the impression that the high-end Fly models had stainless steel frets... Did I misunderstand that from the marketing material?
Hey Ken, the movable frets also came in handy because at the time there was no tuning standard, and the horns and keyboards in southern France may have been A 435, and in the north A 448, in Germany, Spain, Italy... also regional. And so a guitar player could travel and work with any other musician using their own guitar, whereas the horn players would have to borrow or rent an instrument for a gig! I believe the A440 standard came as late as the 1600's, maybe even the 1700's, and was just set By a German aristocrat wannabe musician, and sort of forced on everyone else with help of monarchs and the church, but it made sense, so A 440 it was!
Also: Cats were indeed where gut strings used to come from, more specifically black cats and those with mange..., due to the religious zealots claiming they were Satan's demons or some crazy crap like that! People were killing them anyhow, and butchers kept the cow, goat, and pig guts for casings, so why not use the dead cats, must have been the thought.
Cool! Thanks for tuning us up!
@@kenparkerarchtoppery9440 Do you tell your clients that can't wait to "Stay tuned" like I do?😁
if i were 30 years younger i'd take a ride up to Gloucester and beg Ken for an apprenticeship.
Heck, I’d just love to hang out with him for a weekend in his shop!
Thanks for the sentiment, I think I'll film a shop tour and hang out with all y'all!
Apprentices need not beg, just apply!
The movable frets were also good because there was no standard tuning, like A-440 back then. So every town you showed up in had what they would consider the "right" pitch to tune to. So a traveling guitar player could move his frets a little bit to fit in with the particular people he was playing with. Or as I like to say, "close enough for Rock and Roll!"
I just commented the very same thing (Different wording)! There were regional tuning standards so all of the horns which couldn't be tuned after making, worked together, and the pianos and clavinets... were tuned to them, then countries adopted standards, and finally an "International standard" in the 1700's, which the east didn't adopt until the mid or late 1800's!
Back then it was the horn players always being yelled at to turn it the F down! Now it's the guitar players with their amps!!
Ha! You sed it!
As i know the term cat-gut came from cattle gut - and of course no one ever made strings from cats.
Who knows who did what is my motto, lots of centuries out there for folks to try this & that. It's hard to know, and moreover, it's hard to do anything in instrument making that you can be sure is "new"!
Plus, have you ever met an evil cat?
nice haircut
Thanks! Most importantly, Susan thinks so too.