He is a link to a great photographic journey of Carollyn and Kia who custom built 2 beautiful Classical guitars using Tasmanian Blackheart Sassafras and Bunya Pine soundboard and Tasmanian Blackwood and King William Pine Soundboard.
http://makingmyguitar.blogspot.com
Enjoy!
Showing posts with label Thomas Lloyd Guitars. Show all posts
Showing posts with label Thomas Lloyd Guitars. Show all posts
20 September 2010
Female Luthiers At Thomas Lloyd Guitars
Timber, Band Saws, Chisels, Power Tools & Glue!
Lots of Chocolate, Lots of Patience, Tea Breaks, In-depth discussions & Long lunches!
Women that have gone on to make beautiful Australian Acoustic Guitars!
22 August 2008
Sassafras Design
It was a long wait between enroling and starting the 10 day intensive acoustic guitar making course.
When I walked into the Thomas Lloyd Guitar workshop my first instinct was to duck - otherwise I would have been unconscious before I made it to the workbench. Yes, the roof is low. The building is National Trust listed and was used as a stable in the 1930's...and perhaps the large white statue of a horse above the machine shop is a reminder of that past. Luckily, the stable was extended and the workshop opens up into an airy light filled space - only those under 5' 8" are relegated to the low roofed area by the door.
Suffering a bad cold (it was the middle of winter) Chris introduced me to the other students and to the machines. I originally had an idea that I would make my guitar from Tasmanian Fiddleback Blackwood and that was my intention right up until Chris showed me another build in progress utilising Blackheart Sassafras.
I was interested in having a look at it...still thinking the blackwood will be my choice. He then dealt me a bunch of sassafras to have a look through. The sassafras just spoke to me. The figure on the sides meanders like a river and gave a sense of the geography from whence it came.
While the back left me the impression that I had the very heart of the tree. Somehow I forgot about the blackwood, the cold virus and the low roof (ouch).
I wasn't sure that I could finish a guitar in the time allotted and especially from the pace that Chris set. Everything seemed to go very slowly...plenty of tea breaks and a long lunch (something I am not used to in my usual day job). All the techniques for making the guitar were very simple and I was surprised and how easy it was for a guitar to come together so quickly.
However, there are some parts of the build that require experience and guidance...both of which Chris has in spades. And sometimes even a mistake can become a surprise innovation (just as I was finishing my rosette it cut loose and span out - I took a chunk out of it which made it impossible to align with the grain of the soundboard -hence my rosette is at a 45 degree angle to the grain of the soundboard). Although when it counted Chris was there to ensure the best outcome.
As I settled into the relaxed pace I also found time to craft a timber string winder. This little project seemed to cause Chris to smile a lot but I wasn't sure why (and hence my comment on the soundboard on the wall -"stop bloody smiling").
One of my favourite aspects of the build included the shaping of the neck - where I sat on the bench outside the workshop and moulded the Queensland Maple into something that resembled a musical instrument.
When I was deciding on the veneer of the headstock Chris said he had something to show me... a crazy piece of sassafras ....here was the piece that would make a statement. "If you use this you will be in the running for the head stock of year award" said Chris.
I was really unsure what to do for the headstock but as soon as I saw the piece Chris had in mind the sigmoidal design immediately sprung to mind...I mirrored that shape on the fret board over the sound hole.
After we strung the guitar we had a play and there was a bit of buzzing...back to the workbench...add a sliver of wood to the bridge...try again...this time no buzzing...hey, that sounds pretty good...gees, that sounds extremely good...hey Chris, can I play my own guitar?
So what did I get out of the course? Not only did I learn some new skills at the Thomas Lloyd Guitars school I found that the stresses and worries of the work world were forgotten. I can honestly say that I have never been so relaxed. I have found something that can take me out of the hustle and bustle and give me that perfect wave...where you are at one with what you are doing and the extraneous world melts away.
I now have a new guitar, a more relaxed attitude, a timber string winder...and a small bump on the top of my head. I'm still waiting for my headstock-of-the-year award though!
Thanks Chris Wynne - the guitar sounds great!
When I walked into the Thomas Lloyd Guitar workshop my first instinct was to duck - otherwise I would have been unconscious before I made it to the workbench. Yes, the roof is low. The building is National Trust listed and was used as a stable in the 1930's...and perhaps the large white statue of a horse above the machine shop is a reminder of that past. Luckily, the stable was extended and the workshop opens up into an airy light filled space - only those under 5' 8" are relegated to the low roofed area by the door.
Suffering a bad cold (it was the middle of winter) Chris introduced me to the other students and to the machines. I originally had an idea that I would make my guitar from Tasmanian Fiddleback Blackwood and that was my intention right up until Chris showed me another build in progress utilising Blackheart Sassafras.
I was interested in having a look at it...still thinking the blackwood will be my choice. He then dealt me a bunch of sassafras to have a look through. The sassafras just spoke to me. The figure on the sides meanders like a river and gave a sense of the geography from whence it came.
While the back left me the impression that I had the very heart of the tree. Somehow I forgot about the blackwood, the cold virus and the low roof (ouch).
I wasn't sure that I could finish a guitar in the time allotted and especially from the pace that Chris set. Everything seemed to go very slowly...plenty of tea breaks and a long lunch (something I am not used to in my usual day job). All the techniques for making the guitar were very simple and I was surprised and how easy it was for a guitar to come together so quickly.
However, there are some parts of the build that require experience and guidance...both of which Chris has in spades. And sometimes even a mistake can become a surprise innovation (just as I was finishing my rosette it cut loose and span out - I took a chunk out of it which made it impossible to align with the grain of the soundboard -hence my rosette is at a 45 degree angle to the grain of the soundboard). Although when it counted Chris was there to ensure the best outcome.
As I settled into the relaxed pace I also found time to craft a timber string winder. This little project seemed to cause Chris to smile a lot but I wasn't sure why (and hence my comment on the soundboard on the wall -"stop bloody smiling").
One of my favourite aspects of the build included the shaping of the neck - where I sat on the bench outside the workshop and moulded the Queensland Maple into something that resembled a musical instrument.
When I was deciding on the veneer of the headstock Chris said he had something to show me... a crazy piece of sassafras ....here was the piece that would make a statement. "If you use this you will be in the running for the head stock of year award" said Chris.
I was really unsure what to do for the headstock but as soon as I saw the piece Chris had in mind the sigmoidal design immediately sprung to mind...I mirrored that shape on the fret board over the sound hole.
After we strung the guitar we had a play and there was a bit of buzzing...back to the workbench...add a sliver of wood to the bridge...try again...this time no buzzing...hey, that sounds pretty good...gees, that sounds extremely good...hey Chris, can I play my own guitar?
So what did I get out of the course? Not only did I learn some new skills at the Thomas Lloyd Guitars school I found that the stresses and worries of the work world were forgotten. I can honestly say that I have never been so relaxed. I have found something that can take me out of the hustle and bustle and give me that perfect wave...where you are at one with what you are doing and the extraneous world melts away.
I now have a new guitar, a more relaxed attitude, a timber string winder...and a small bump on the top of my head. I'm still waiting for my headstock-of-the-year award though!
Thanks Chris Wynne - the guitar sounds great!
Grant - Student 2008
31 August 2007
Blackheart Sassafras!
Striking Blackheart!
This could eventually be hand crafted into an exquisite Guitar or A Piece of Fine Furniture!
This could eventually be hand crafted into an exquisite Guitar or A Piece of Fine Furniture!
Andrew Morrow an Ex- Student and CSIRO Wood Scientist was also interviewed in the new DVD.
He gives his explanation as to the dark heart or the staining in the timber. Some think it is a growth, mould or even just a water stain... often when the tree becomes old they open up and water can be held in the top cavity, also limbs fall off and damp staining can occur.
Andrew explains that it is a fungus and it is from water staining that comes from the top of the tree.
As apposed to the Tiger Myrtle the black fleck in the timber is also a fungus but actualy comes up from the bottom of the tree - even at a young sapling age!
There are many opinions about ancient trees and still the debate will continue for many years!
01 August 2007
King Billy
I would like to thank you Chris for an inspirational two weeks at Montsalvat.
I have named my guitar "King Billy" because it sounds, feels and looks better than any other.
My guitar is a Dreadnaught with Blackwood back and sides, QLD Maple Neck, Gidgie Fret Board & King William (Billy ) Pine top, Rosewood for the binding- all Australian Timbers.
I have named my guitar "King Billy" because it sounds, feels and looks better than any other.
My guitar is a Dreadnaught with Blackwood back and sides, QLD Maple Neck, Gidgie Fret Board & King William (Billy ) Pine top, Rosewood for the binding- all Australian Timbers.
Once Chris had shown me how to use the various tools and machines, it was easy. I have been playing guitar for over 30 years and I have a collection of at least ten (the last time I counted!)
The sound is warm and resonant with a huge dynamic range.
My family and friends are astounded that I could have built such a beautiful thing - at all, let alone in two weeks.
I can see that building guitars is going to become a lifelong passion of mine.
I have already started looking around for tools.
See you in Italy!
Allan Lloyd - Student June 2007
26 July 2007
Flamenco With Spruce Soundboard
My first reaction to the idea of being taught how to make my own guitar was:
What better place to make the guitar of your dreams - a Tuscan villa perhaps???
The feel and smell of the exotic timber, the learned skill of handling quality tools, things you just can't begin to imagine by reading a blog.
After two exhilarating weeks, my instrument was finally complete!
I remember stopping half way through the piece. Both Chris and I were astounded.
"Is it supposed to sound this good yet"? I asked Chris.
He had indicated that spruce tops will get better with age, and whilst the instrument would sound good on the first play it would be no where near it's potential.
Both Chris and I agreed that if this was the initial sound, and wondered how great it will be once it has reached its full voice!
I used Spruce for the top, spanish Cypress back and sides, and Spanish Cedar for the Neck. Ebony fretboard and bridge. Indian Rosewood for bindings, Curly Maple and Cocobolo Rosewood for the headstock.... pics coming soon to this blog!
Well 5 months later.....
The guitar, which I named after my daughter Sienna, has voiced itself beautifully, 10 times better than the first strum, and it still has years to reach its full potential.
I'm very excited at this prospect. Not only have I made my own guitar, but I was able to avoid a $10,000-$15,000 price tag for an instrument that will have greater value to me than any guitar that I could buy.
As a result of the course at Thomas Lloyd Guitars I have now purchased the tools required to start making them myself. Chris' teaching and methods have made me confident to tackle any woodworking job I can imagine. Very shortly I will be purchasing a kit from Chris to start on my second guitar that will be named after Sienna's twin sister Ella.
If you haven't gathered from reading this that you MUST do this course, or maybe you should just buy a guitar!
But I tell you this, you will be dissapointed in your purchase, and you will forever be thinking:
Don't hesitate, just do it you will not regret it!
A big thanks to Chris and the gang at Thomas Lloyd Guitars and the other students who labored with me to make this one of the greatest experiences I have ever had.
Truly A Lifelong Dream Come True!
Darryl Wood - Student March 2007.
"Wow,could I really do it"?
Once I had booked for the two week intensive course at ThomasLloyd I began to have reservations. Did I have the ability or personal skill to be able to produce an instrument of quality compared to the price of the course?
Well, once I had completed my guitar I can truthfully say that I have made a guitar of three times the value of the cost!
Being a working professional Flamenco/Classical guitarist I felt it was time to purchase a new guitar!
However the guitars on the market were horrifically priced for very little inspirational sound and feel from the instruments. It wasn't until I sampled the $10,000 guitars that I started to feel I was getting something worth owning, however the price tag brought feelings of hopelessness that I would never own such a nice guitar.
So I thought "What have I got to lose, if I can make a guitar in my price range, the worst Icould do was make one as bad as in the shops and boutiques"!
So I went ahead with the course. Firtly let me say I am no skilled woodworker or craftsman. Before the course I couldn't even cut a straight bit of wood!
I had however attempted to make guitars before. My first when I was seven, out of scraps and offcuts, nails for the bridge and pegs, rubberbands for the strings. My next attempt was an electric guitar at theage of 18. I won't even go there with you! Needless to say I was nervous about failing again.
The moment I walked into Monsalvat I knew I had made the right decision!
Well, once I had completed my guitar I can truthfully say that I have made a guitar of three times the value of the cost!
Being a working professional Flamenco/Classical guitarist I felt it was time to purchase a new guitar!
However the guitars on the market were horrifically priced for very little inspirational sound and feel from the instruments. It wasn't until I sampled the $10,000 guitars that I started to feel I was getting something worth owning, however the price tag brought feelings of hopelessness that I would never own such a nice guitar.
So I thought "What have I got to lose, if I can make a guitar in my price range, the worst Icould do was make one as bad as in the shops and boutiques"!
So I went ahead with the course. Firtly let me say I am no skilled woodworker or craftsman. Before the course I couldn't even cut a straight bit of wood!
I had however attempted to make guitars before. My first when I was seven, out of scraps and offcuts, nails for the bridge and pegs, rubberbands for the strings. My next attempt was an electric guitar at theage of 18. I won't even go there with you! Needless to say I was nervous about failing again.
The moment I walked into Monsalvat I knew I had made the right decision!
What better place to make the guitar of your dreams - a Tuscan villa perhaps???
Chris was easy going, as long as he had his Tim Tam drip installed!
We chatted for half an hour, he showed me around and then introduced me to the pile of wood that would soon produce beautiful music.
We chatted for half an hour, he showed me around and then introduced me to the pile of wood that would soon produce beautiful music.
I tell you truthfully, as soon as Chris got me started my nerves left me. Chris showed me and taught me techniques that transcended most manual skills I have come across.
My excitement throughout the whole process was such that Chris had to double his chocolate in take just to keep up with me!
It was certainly the most edifying thing I had ever done!
My excitement throughout the whole process was such that Chris had to double his chocolate in take just to keep up with me!
It was certainly the most edifying thing I had ever done!
The feel and smell of the exotic timber, the learned skill of handling quality tools, things you just can't begin to imagine by reading a blog.
After two exhilarating weeks, my instrument was finally complete!
I strung it up, tuned it, and played....
I remember stopping half way through the piece. Both Chris and I were astounded.
"Is it supposed to sound this good yet"? I asked Chris.
He had indicated that spruce tops will get better with age, and whilst the instrument would sound good on the first play it would be no where near it's potential.
Both Chris and I agreed that if this was the initial sound, and wondered how great it will be once it has reached its full voice!
I used Spruce for the top, spanish Cypress back and sides, and Spanish Cedar for the Neck. Ebony fretboard and bridge. Indian Rosewood for bindings, Curly Maple and Cocobolo Rosewood for the headstock.... pics coming soon to this blog!
Well 5 months later.....
The guitar, which I named after my daughter Sienna, has voiced itself beautifully, 10 times better than the first strum, and it still has years to reach its full potential.
I'm very excited at this prospect. Not only have I made my own guitar, but I was able to avoid a $10,000-$15,000 price tag for an instrument that will have greater value to me than any guitar that I could buy.
As a result of the course at Thomas Lloyd Guitars I have now purchased the tools required to start making them myself. Chris' teaching and methods have made me confident to tackle any woodworking job I can imagine. Very shortly I will be purchasing a kit from Chris to start on my second guitar that will be named after Sienna's twin sister Ella.
If you haven't gathered from reading this that you MUST do this course, or maybe you should just buy a guitar!
But I tell you this, you will be dissapointed in your purchase, and you will forever be thinking:
"What would a guitar that I make from a pile of wood,
really sound like"?
Don't hesitate, just do it you will not regret it!
A big thanks to Chris and the gang at Thomas Lloyd Guitars and the other students who labored with me to make this one of the greatest experiences I have ever had.
Truly A Lifelong Dream Come True!
Darryl Wood - Student March 2007.
18 July 2007
Thankyou For My New Skills!
Ya- know I did the course with Chris a few years ago now, amongst the cow manure and tall tree's, Great place up on the farm.
Then he moved to the big smoke in Eltham, after we had tried to keep him a secret in the home town it got out.
I always meant to go back and learn more but time took over. I haven't stopped making guitars and through Chris's innovative workshop I followed in his footsteps a bit.
That is if you need something , just make it. Try anything once it may work. Be precise in you workmanship cos close enough is not good enough. By trying and thinking about what he taught me, going back through my notes and photo's I now make a passable guitar. Mind you I have stuffed a few up on the way!
Had to pull them apart and start again. It is different when you haven't got the Master there to tell you what to do next and check your measurements.
Thanks for everything Chris. Pat Formston - Student 2003
Then he moved to the big smoke in Eltham, after we had tried to keep him a secret in the home town it got out.
I always meant to go back and learn more but time took over. I haven't stopped making guitars and through Chris's innovative workshop I followed in his footsteps a bit.
That is if you need something , just make it. Try anything once it may work. Be precise in you workmanship cos close enough is not good enough. By trying and thinking about what he taught me, going back through my notes and photo's I now make a passable guitar. Mind you I have stuffed a few up on the way!
Had to pull them apart and start again. It is different when you haven't got the Master there to tell you what to do next and check your measurements.
Thanks for everything Chris. Pat Formston - Student 2003
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