A lot can be said (and fabulated) about the tonal qualities of the various types of wood used in guitar making, alas, having not much personal experience in this field, I admittedly based my choice largely on visual qualities.
In particular I came across this neck piece of Ziricote, a tree I had never heard of before, but immediately liked due to its intricate markings:
As I prefer single-type wood guitars (save for the fretboard) I then faced the much harder task of finding a large enough Ziricote piece for the body. Most dealers said this was not possible, but after much back and forth Nebelheim Tonewood procured a plank that seemed promising (thanks much to Manuel Wemmer for helping with this):
Note how the dark core is surrounded by lighter wood.
Of course this wasn’t wide enough for a one-piece body, and even a two-piece didn’t pan out because I had to work around a crack. So I ended up with this cutting plan:
Put together like this (Photoshop simulation):
With an overlay of an early design sketch:
I then took this to a local shop in Berlin to do the actual cut and paste. Thanks much to Guitardoc and Anthony Schneider in particular for the help!
I forgot to take a picture of the raw assembled block, so here’s one at a later stage where the upper curve has already been cut out:
More on the machine in the background in the next post
Sound modules for the walking sticks used by visitors of the “Speed of Light” project by NVA, Glasgow. Barometric and acceleration sensors control a small DSP that runs a composition by Chris Weaver of Resonance FM.
Like “Berlin, Mitte der Welt” this is a spinoff of the G-Player series. As usual (some of) the sounds are a 1:1 interpretation of topographic data, this time imprinted on a vinyl disk that sits on top of an elaborate object that alludes to planetary motion. Above a chandelier-pendulum with a laser pointer “scratches” across the disk’s grooves which in turn is sonified and played back thru a rotating speaker, part of the above object.
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