Thank you, Intune!Intune wrote:The luthier at the forefront of Brahms guitar building and innovation these days might be Martin Woodhouse in England, whose website link follows: http://www.mgwoodhouse.webspace.virginmedia.com/
Yeah, a luthier speaks!Lance Litchfield wrote:Blkw, I can't comment on comfort unfortunately as I have never tried one myself, and don't have an opinion here. Your idea may be feasible for Jack using low action and limited use of upper frets on the bass. From my perspective, as a luthier of standard parallel fretted guitars, I would need to think carefully about a few things...as mentioned playability and fret numbers up to and past the body/neck position, tuning for highly angled frets which I would find interesting to study, bridge angle which for me would involve some rethinking of top design, longer bridge meaning more mass etc. Fan fretting luthiers would have a better feel for pushing these limits than me I am sure.
I got them from pegheds(dot)com NOT from pegheds(dot)net. We had to call the guy (I think his name is Chuck, I will PM you sometime with full details) on the phone. He is in the US of A and I am not, but we arranged to have seven sets shipped to us, four of which went to our luthier so that he could offer them to other clients. One important factoid: they come in left- and right-turn varieties. If you have them on backward they will jam or unscrew the mechanism from itself. I cannot tell you if there is a mark on them to tell left from right at the moment. High tension does not seem to be a problem.Blkw wrote:I'm highly interested with pegheds. I tried something like that on the guitar you can see on this thread. I don't know the exact name of maker, but I'm not really satisfied, for they often get jammed or at least are so hard to turn that changing the strings is a bore . So that it would be nice to give me the exact reference of these you employed and are satisfied with. (pics?)
When you'll realize your monostring tester, can you take the opportunity to evaluate these pegheds at the very high tensions required to A 440 1st and tell me then ? Thanks in advance …
You have a point about doubling the octave below on high notes. It's hard to get harmonics to carry well, and I have occasionally doubled the octave when I play notes that go up past the frets, like D on the virtual 22nd fret.Blkw wrote:The second point I found recently (but I'm often discovering "the moon at full daylight") is also a pianist's trick to enhance very high tones : that is to play along the octava bassa ! That may look a bit heavy as it enrolls a second finger, but in a well-planned melodic acme, I think the d'' and e" doubled with octava sounds more natural and fine than harmonics - that I always feel "artifacts" . So that I'll let my fingerboard spread out up to XXIV, waiting for the ideal string …
Friendly yours, Yves
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