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Tag Archive for: Paul Heumiller

With vintage instruments, there’s simply no telling what patches and pokery you’re going to find under the hood. Good news! Dream Guitars is well-acquainted with those surprises, and we know just what to do when they crop up. Recently, a client and collector came to DG with several obscenely rare Martins, among them a 1930 OM-45 that he was concerned was too quiet. Once Paul Heumiller got his hands on the guitar, his ear told him something was definitely awry. Having played many of the “Holy Grail” Martins for the 20s and 30s, he’d expected to hear a energetic voice with vigorous projection, but this guitar sounded timid, with a bad case of congestion.

Paul immediately suspected that the bridge plate had been modified, and after plumbing the depths of the OM-45 with a flashlight and a mirror, his suspicions were confirmed: glued where the original bridge plate should have been was a massive (over 3″ wide) modified bridge plate! It was probably installed in an effort to combat the tendency of the top to belly up as the string forces enact continual upward stress for years, over-doming the top around the bridge. On the one hand, the girthy bridge plate worked perfectly: this more-than-80-year-old guitar had very little belly to its top, unheard of at its age. On the other hand, the voice was something between a Chevrolet sputtering tailpipe fumes and a cat mewling in the rain, the top’s vibrations were so severely dampened.

repair1

We assured our client that this was a problem that we could handle. Enter: Ken Jones, veteran of instrument restoration, who approached the repair with zeal as he prepared to remove the bridge. However, the situation was about to get more interesting, once the bridge was released. Underneath, where there should have only been a pale, unfinished Spruce top, there was a nasty black patch of Spruce and scaly epoxy. After repeated attempts to steam this patch free proved ineffectual (due to the epoxy’s high heat resistance), Elliot W. took chisel in hand and meticulously pared away the noxious epoxy with “surgical precision and the serenity of spirit that work of this caliber demands,” says Jones, finally releasing the Spruce patch.

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repair8

What’s next on the agenda? Ken: “Cleaning up the inside of the top, making a smaller, thinner bridge plate, and using our belly-reducer cauls to further sweet-talk the top back into shape. I have no doubt this will improve the voice of this guitar. This is a really cool, fun, and interesting repair that reminds me why I got into repair work in the first place–keeping these old dogs going because they just sound better and better with age!” In addition to releasing the bridge, releasing the pickguard helped reduce the amount of belly dramatically, making us very confident that this top will settle down and behave beautifully, once we’re finished here.

repair9 repair5 repair2

Stay tuned as we continue to make good on the original bad repair of this 1930 OM-45! If reading about the magic of instrument restoration strikes your fancy, just you wait: we’ve got more exciting repairs on our bench, and we’re itching to bring you along for a play-by-play.

Update: July 25, 2016

The last time we checked in, this 86-year-old Martin had been divested of a poorly-executed repair that was compromising its top, with the last of the lingering epoxy scraped clear and the massive bridge plate and patch removed.

Much has happened since then! After brainstorming and consulting with other maestros of the repair world, Ken Jones and our team have landed on an elegant solution to simultaneously reinforce the top, fill the rectangular hole between the bridge and the bridge plate, and create a consistent platform to reglue the original ebony belly bridge: combine the patch under the top with the plug into one patch-plug.

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Spruce stock has been carefully trimmed to exactly fit inside the braces, then excess spruce has been routed away from the plug portion. The thickness of the top of the OM-45 is about .112″, so this piece was thicknessed to .168″ or 1.5x the thickness of the top.

 

Next, the thickness of the top (.112″) was routed away everywhere on the patch, except for where the patch will fill the hole in the top.

Before we could even consider starting on this exciting new leg of the repair, we first needed to patch the sections of the X braces where the previous colossal bridge plate was notched into them. If we hadn’t addressed those gaps, the top would have been at significant risk for further deformation. That finished, we then moved on to the spruce blank itself, shaped to fit between the newly-repaired X braces. The top of this Martin OM-45 is .112″, so the spruce blank  was sanded to .168″, or one and a half the thickness of the top, so that, once installed, the plug would sit slightly proud of the surrounding top. After transferring the shape of the rectangular hole in the top between the bridge and bridge plate to the blank, we then carefully routed the surrounding material until the “plug” part of the patch was .168″, and the surrounding spruce was .056.

Then, the location of the bridge plate was marked out on the underside of the patch, and the patch was then sanded from that point of contact to paper-thinness at its edge to minimize mass and allow the original top to vibrate as freely as possible without jeopardizing its structural integrity.

An edgewise view of the tapered back end of the spruce patch.

An edgewise view of the tapered back end of the spruce patch.

After looking at these photos, you might be asking yourself, “Why is that thing so wide?” The patch-plug has a large surface area in order to increase the amount of gluing area for the patch-plug, meaning that the patch-plug is glued to the underside of the top in addition to being glued to the end-grain of the sides of the rectangular hole left by the previous repair. By itself, an end-grain glue joint is inherently weak. However, with the additional gluing force of the lower section of the patch against the underside of the spruce top, we’re confident that this new patch-plug won’t pull up, which was the problem with the epoxied patch from an earlier repair which we had chiseled out. The large surface area of the patch-plug also provides a little more reinforcement to combat the bellying that was present when the OM-45 first appeared on our bench.

The patch-plug was then carefully scored partway along spring growth grain lines (which are softer) and broken into three pieces that equally divided the plug in order to fit into the soundhole, with blue tape on the back to act as hinges.

The "top" or the non-show side is scored about halfway through the patch with a sharp blade The score lines are in the soft, spring growth grain. Next, it is broken along those score lines. This is to prevent a seam from showing inside the guitar once it is in place. Also, a break will help register all three pieces together cleanly inside.

The “top” or the non-show side is scored about halfway through the patch with a sharp blade The score lines are in the soft, spring growth grain. Next, it is broken along those score lines. This is to prevent a seam from showing inside the guitar once it is in place. Also, a break will help register all three pieces together cleanly inside.

The moment of truth came when we first folded the patch-plug and eased it into the soundhole before pressing it into place between the X braces. Turns out: a perfect fit. 

So snug, it will stay in place on its own without glue or tape!

So snug, it will stay in place on its own without glue or tape!

Once we knew the dimensions of the patch-plug were exactly what we wanted, we then made several cauls for the top and bottom, and aged the new spruce patch-plug with Potassium Permanganate in order to make it blend in better with the surrounding 86-year-old spruce.

A special set of inside clamping cauls are mad to fit the patch.

A special set of inside clamping cauls are mad to fit the patch.

Now, a test fit is all fine and dandy, but it’s another matter entirely when the moment of the actual glue-up arrives. This time, everything must to be perfect. In keeping with tradition, we used hide glue and several cam clamps and deep-throated C clamps with the cork-lined cauls to cement the patch-plug with the original top. Hot hide glue is absolutely essential for a repair of this nature, where even clamping pressure is key, and hide glue’s ability to pull the wood tighter and tighter together as it cures helps ensure that the joint is airtight and even. Moreover, hide glue is tonally superior to rubbery aliphatic resin-based glues–but this comes at a price: a very short working time. Thus, appreciate how cool-headed and savvy is our repair staff: we were able to evenly spread glue on the patch, fold the patch, get it inside the guitar through the soundhole, unfold it, put it into place, then precisely arrange three cauls and five clamps inside a tiny soundhole, working by feel, before the hide glue could gel!

Only hot hide glue will do for a repair like this. Even clamping pressure is key.

Only hot hide glue will do for a repair like this. Even clamping pressure is key.

From the initial dry fit to the actual glue-up, this patch-plug was a star patient, and we’re quite happy to report that everything fits snugly, and the plug sits just slightly proud of the surrounding spruce.

The plug ended up just proud of the top so it can be sanded down to level.

The plug ended up just proud of the top so it can be sanded down to level.

Next on the docket? Sanding the plug flush to the top, then levelling the entire surface under the bridge. This last step is crucial and delicate: without a consistent gluing surface to attach to, the bridge will invariably pull up again.

As the work progresses and we get closer to refitting the bridge and restringing this Holy Grail Martin to its former glory, we’ll post more photos with each swipe of the sandpaper. We’re getting very close to hearing what it sounds like to right the wrong of that gruesome earlier repair! Dream Guitars’ owner Paul Heumiller’s ears will be the true test, once he compares the choked chords of the first time he strummed this OM-45 to its newly-restored self.

Gel nails look very natural, they are clear and just a bit shinier than your normal nail. I typically get nice comments on them when folks notice them and it’s a great conversation starter.

Last night I was sitting in the salon getting my nails done when I realized I should do an article as so many players ask about my nails at the shop. There are many ways to go and it’s a personal decision for each player. But here’s what I do and how I got there.

When I initially started playing Fingerstyle I used my own natural nails. The nails were weak, though especially at the end where they often broke, a serious impediment to progress so I switched to metal finger pics – the kind that many Blues players use. I used these for several years. They were extremely uncomfortable and I never liked the metallic attack on the strings.

Then one day I found myself in New York City attending a workshop with Martin Simpson who was one of the instructors. The first song I heard them play was Rosie Anderson and the tone Martin produced was just amazing. Single notes were fat and clear and the overall tone was just beautiful sounding. After the performance we had a chance to meet and chat and he showed me his acrylic nails. Martin told me he goes to the salon every few weeks. I walked out of the door at Columbia University down the street to the first salon I could find and gave them my right hand!! It was pretty comical actually because they thought I wanted both hands done – I mean it was New York City after all. They didn’t speak much English but as soon as I made the motion of playing air guitar they understood.

This was probably 16 or 17 years ago and back then the acrylic nails were a powder and a resin that were mixed together and applied to the nail. Not a great product as it would dry out the original nail and was prone to chipping more often than it should. However over the past few years, a new acrylic nail gel product came out that is not only healthier for your real nail but much more durable and in fact a bit more flexible and better sounding.

The process is pretty simple, as the name implies – the product, which is a gel, goes on thick and gooey and levels itself. If it is your first time and if you want your nails to be longer  they will first apply some fake nail tips to form a bridge for the new gel nail to go over. You then place your hand under a UV light which hardens and cures the gel in short order (warning this can get hot and burning, pull them out for a few seconds to cool and then reinsert them). There’s a few iterations of sanding your nails and adding coats of gel and drying under the UV. This takes about 30 or 40 minutes, then you are ready to go home and play. Well almost. One of the great benefits of this product is shaping. The standard nail file goes from course to fine so you can experiment with beveling your nail and polishing it to different ranges of smooth for the particular tone that you want for your music. Think about the bevel on your favorite pick and try for that for starters.

The long-term care of these nails is pretty straightforward as well – about every 2 to 4 weeks depending on your own situation, you can go back to the salon for what is called a fill. This is where they simply fill in the portion of your nail that has grown out and add any more gel towards the base of your fingernail, fixing any minor nicks or things that need to be touched up.

Nail salon price varies around the country but anywhere from $20-$30 will get you a set of these nails, and fills usually range from $15-$20. Well worth it – I used to lose my pics all the time and now I simply can’t leave home without them.

PS -Be sure and get a pedicure while you’re at the salon, it’s not just for the ladies and it’s fabulous!

Dream Guitars is proud to bring you some exciting news from Tippin Guitars including a brand new model and incoming DG inventory!!

Bill Tippin’s New Forte Model

First off, Bill Tippin introduced his newest creation, the Tippin Forte, at the recent Healdsburg Guitar Festival in California. This is a new model from him and is one of his most creative projects to date.

The Forte, based on his Crescendo model, was inspired by Tippin’s own personal guitar preferences. He found a way to boost the richness of the Crescendo — he increased the width of lower bout while maintaining the balance — and it’s slightly wider (3/16th”) at its widest.

Our own Paul Heumiller and Al Petteway had the privilege of playing the new Forte while out in Healdsburg. “The new Forte model from Bill Tippin has everything I love about the Crescendo, balance, clarity, power and Bill’s trademark full trebles, but it adds a bit more fullness to the bass for the player that enjoys a bit more thump in the chest. Outstanding!” – Paul H.

The Original Tippin Crescendo Model

The Crescendo, which is considered to be the cornerstone of Tippin’s entire line of guitars, is large yet versatile. Imagine a 14-fret OMT with the rich tone normally found in an 00012-fret size. The Crescendo manages to combine the feel of a 14-fret OMT while preserving the rich tone of a 12-fret body model, replete with incredible tone, balance and projection.

Dream Guitars has a pre-owned 2005 Crescendo in stock featuring Brazilian Rosewood and Carpathian Spruce – contact us if you’re interested in acquiring!

And, by the way, our own Paul Heumiller is anxiously awaiting to take delivery of his personal, custom Crescendo. Paul’s model is made from Brazilian/Moon spruce with a cutaway, MOP sparkle trim. What makes this custom job so unique is that it includes a short-scale, Fan Fret design, which will perform well in Drop-D, DADGAD and standard tunings.

The Tippin Al Petteway Signature Model

Also, Bill has embarked on a new build of the Tippin Al Petteway Signature, also based on the Crescendo model. Check out this video demonstration of the Petteway Signature on our YouTube channel. This instrument is representative of Bill at the top of his game, and when you listen to our studio recording you’ll understand what we mean. Interested in purchasing the incoming Tippin Al Petteway Signature model? Contact us today to learn more about your reservation options.

We do also have a pre-owned Al Petteway Signature in stock as well if you would rather not wait for the incoming guitar. This 2008 Crescendo Al Petteway Signature was actually originally purchased by Al Petteway himself and was the first Signature model ever made! This beauty features brick red Brazilian Rosewood, Moon Harvested European Spruce, an armrest bevel, beveled cutaway, and new heel design. Click here to learn more.

This is exciting stuff, folks. We all know that Grit Laskin is one of the finest luthiers around and is widely considered as a master of inlay work. Today, Dream Guitars announces that he is working on a custom guitar that we have made available for reservation with delivery expected in December.

Our own Paul Heumiller worked with Grit to develop the basic inlay ideas and Laskin took off running. As you can see in these pictures, the design is amazing, intricate and just short of groundbreaking.

Here is some of what Grit himself had to say about this piece:

One of the most beloved and influential guitarists was the legend who passed away just last year, Doc Watson. I began thinking about Doc, and about the natural world and the title from Shakespeare popped into my head: ‘A Midsummer Night’s Dream,’ which takes place in a forest. The more I read about Doc, the more his life inspired me: His musical beginnings, the events in his life that shaped him and the fact that what gave him the musical bug was the shape-note hymns sung by his mother. My brain locked onto that seminal influence and also latched onto the literal meaning of the word shape — this old-style singing shaped his life, yes, but the notes themselves also provided physical shapes in which I could place scenes and elements from his life. Bingo.

“I’m putting a large portrait of Doc picking a guitar on the headstock in the same realistic I used for John Lennon on the ‘Imagine’ guitar. Flowing down the fret board are the seven basic shapes of shape notes (do, re, mi, fa, so, la, ti) large enough to place within elements such as Doc’s earliest musical instruments, his early solo album, ‘Southbound,’ which  first brought him to prominence. In fact, the working title of the piece is ‘Southbound.’

Talk about creative thinking.

If you’re jazzed about this guitar and Laskin’s work no one would blame you if you missed our announcement, so here it is again: This guitar is available and you can reserve it now by contacting the Dream Guitars shop near Asheville, NC, right away. If you miss this opportunity, or want to see more of Grit Laskin’s work, check out the gallery on his homepage.

In many ways, Dream Guitars is not just about buying and selling amazing stringed instruments. Sometimes, we help make music. In fact, we feel that the Tony McManus album, “The Maker’s Mark: The Dream Guitars Sessions,” may have been our finest moment.

Here’s how it all went down…

A few years ago, Dream Guitars’ top dog Paul Heumiller was at the Swannanoa Gathering, which included a week of playing, meeting other musicians and generally having a blast with amazing music in the background. There, Paul met the Celtic steel-string legend and the two hit it off in a big way. As the week drew to a close, Paul made Tony an offer he couldn’t refuse.

“Next time you make an album,” Paul said, “let me know and I’ll bring a bunch of [Dream] guitars.”

Tony called a few months later, and Paul quickly found himself loading up the car with 19 guitars before driving out from Weaverville, NC, to Nashville, Tenn., and the famed Compass Records recording studio, where all of the Outlaws music was recorded, a studio that had welcomed Waylon Jennings, Willie Nelson and Hank Williams.

“What a great vibe,” Paul explained.

For a week, Paul prepped guitars and Tony made music with several guitars, including a Greenfield, a Wingert, and a Matsuda, among others, which he selected not only because of the sound but that Tony believed that each luthier’s guitar was the right instrument for a specific song and its character.

The result of this magical week was Tony’s album, “The Maker’s Mark: The Dream Guitars Sessions.” You can find the album in our Dream Guitars shop by clicking here. “Maker’s Mark” is also available on Amazon. Paul feels strongly that this is “one of the finest solo guitar records ever” because of Tony’s expert selection process.

Each unique musical piece brings tonal variety. For the final track, “Valse de Belugas,” or “Waltz of the Belugas,” Tony used all 19 guitars and added a beautiful, 12-string Veillette Gryphon.

For the record, Acoustic Guitar Magazine has said this about Tony and his music: “Few guitarists can present Celtic music with the gusto and nuance they possess when played on fiddles or bagpipes. Tony McManus is one of those few.”

The album won the Canadian Folk Music Award in the solo instrumental category that year, and we at Dream Guitars remain as proud now as we were then.

Tony has also just released his latest recording entitled “Mysterious Boundaries.” You can check it out by visiting Tony’s website.

This is great stuff.

Dream Guitars is a proud dealer of Composite Acoustics guitars, seen by many as superb travel guitars that require little maintenance or worry. They have been described as “virtually indestructible” because of the carbon fiber construction. They can handle heat, cold, life in the closet and will emerge ready to play.

Even more, the sound great, especially in low tunings, like DADGAD or low C, since the action won’t change when the string tension is altered.

We have several coming into the shop now — the GX (an auditorium-sized cutaway), the OX (a 20-fret cutaway with a raw finish) and Cargo (a travel model with or without electronics) — and we are a dealer of the entire Composite Acoustics catalog. If all this isn’t good enough, you’ll get a free $50 Dream Guitars Gift Card when you purchase a Composite Acoustics guitar at our shop here.

Curious yet? We took a ride on one of their classic Vintage Performer D models a few years back and everyone at the shop was blown away. Check out our YouTube link to take a listen before you call us to pick up one of these beauties.

Again, here are the takeaways:

  • Carbon Fiber composition
  • “Virtually indestructible”
  • Awesome in low tunings
  • Great sound
  • Hassle-free
  • Get a $50 Dream Guitars gift card

Take one to the beach or the mountains. Leave it in the trunk or the closet for months, it’ll be fine and sound great. Drop the tuning and have at it.

Our own Paul Heumiller recently sat down in front of the cameras to talk about one of Dream Guitars’ favorite builders, Jordan McConnell of McConnell Guitars (and the Grammy-award winning band, The Duhks) for a video interview.  You see, Paul is not only has a savvy eye when it comes to great luthiers and their instruments, but also sees things from the mindset of a player. In fact, he’s a proud owner of a McConnell and shares his feelings about that fine, custom made instrument with the viewer. Paul makes clear the guitar’s ability to bring out the music and sound he feels inside, a rare trait for any custom instrument.

McConnell builds rich-sounding and versatile instruments in both steel string and classical models at his shop in Winnipeg, Canada, on the fringes of the Canadian Prairies. McConnell became enamored with the construction of guitars at a young age and has studied with famed Spanish luthier, Jose Romanillos, gaining a valuable education in the work, the craftsmanship.

Among his customers: Tim Sparks, an award-winning fingerpicking player, jazz greats Larry Roy and Harley Card, Seth Avett of the Avett Brothers and Irish player John Doyle.

So, Paul sat down in our Weaverville, NC, studio, to talk about this fine luthier, who works with his father on the construction of the guitars. As a builder, Jordan McConnell has become a hot name and his work is in demand. While we do not have currently any in stock, Dream Guitars is accepting orders for his custom builds. Paul will personally work with you to ensure you get what your music deserves. Contact us to discuss the possibilities.

Considering a McConnell now? You may also want to check out this video of Jordan McConnell at the Dream Guitars headquarters a few years ago, offering an exclusive performance. We also have several other video samples of various McConnell guitars on our YouTube channel as well as the Listening Studio on our home page.

Special thanks to Dan Crapsi and Ginny Temple, who visited our shop and filmed this interview for their blog, thegoodguitar.com.

Singer-songwriter Danny Ellis has had an interesting life to say the least. After growing up in an orphanage in Ireland in the 1950s, Danny found music and it saved his life. He began his professional career as a trombone player with “The Boyne Valley Stompers,” a Dixieland band touring Ireland. From there, Danny expanded his horizons, his singing and playing and started a diverse musical career that has taken him all over the world as a trombonist, keyboardist and guitarist as well as a professional songwriter.

Flash forward to today and Danny is opening for for many musicians, including the great Bonnie Raitt for her recent show at the North Charleston Performing Arts Center. Bonnie is a great fan of Danny and his music and personally invited him to fill the opening slot.

Danny now maintains a studio in Asheville, NC, just down the road a spell from our Dream Guitars headquarters in Weaverville. We have built a solid professional relationship with Danny and he granted us some of his time to record a lengthy video interview with our own Paul Heumiller to talk about singing, songwriting, musicianship and his latest role as a teacher, which he conducts out of his studio in person as well as on Skype. In fact, Paul himself has spent plenty of time learning from Danny, studying the finer points of singing and songwriting. Paul considers Danny a mentor and a friend as well as a teacher. You can get more information about Danny’s teaching career and how to become a student by visiting his website and checking out his lessons page (www.dannyellismusic.com/musiclessons.cfm).

We have two videos on our YouTube Dream Guitars channel, one the full-length interview (22:28) and a short highlight reel of the same (5:31). Check them both out, then take a trip to Danny’s site, where you can read about his history, his discography, find links to his Facebook and YouTube pages as well as learn more about his teaching methods and how to contact him for lessons.

Last month, Dream Guitars hosted the great Steve James for the latest house concert at our Weaverville, NC, headquarters… and the house was rockin’.

Steve played Sylvester Weaver’s “Guitar Rag,” widely recognized as the first slide song ever recorded (1923). Throughout the show, Steve played his own National Resophonic instruments, including a Resorocket Wood Body WB, an NRP Black Rust and an RM1 Mandolin. He also toured our showroom and selected a few guitars from the racks to use during the show: a 1964 Gibson Sunburst SJ-200 and a Mervyn Davis SmoothTalker, a wood body instrument that that has a resonator-like quality.

Steve also wowed us with a version of “Stagger Lee,” re-written from the perspective of Stagger Lee and his John B. Stetson hat. Incredible!

Dream Guitars hosts about six house concerts a year and in the past has hosted many amazing artists, including Al Petteway and Amy White, Woody Mann, Martin Simpson, Clive Carroll, Lawrence Juber, Paul Geremia, Robin Bullock and Mary Flower to name a few.

Our next show is set for July 7 with the amazing duo of Loren and Mark. Other upcoming guests include Paul Asbell (August 3) and the return of Clive Caroll (Feb 28).

Check out our Event Calendar for more information on our house concert series.

We host a number of events here at Dream Guitars. Just one of our many ways to give back to the community and share music with others who are passionate about it. We welcome you all to come join us at a House Concert, Guitar Clinic, Setup Saturdays and other events throughout the year. Come visit Dream Guitars and the wonderful Asheville area!

INFO

Loren and Mark in Concert!

Sunday, July 7 @ 7 pm

Pre-Show Pot Luck @ 6 pm

Tickets $20, Reservations required

About Loren and Mark

Loren Barrigar and Mark Mazengarb, both virtuoso players in their own right, ran into each other several times over the years, first meeting in 2005 at Jorma Kaukonen’s Fur Peace Ranch guitar camp when working with Tommy Emmanuel. Loren was a seasoned player making his first deep foray into the world of acoustic guitars, while Mark was in the process of finishing his degree in classical guitar at the University of North Carolina. They met again in 2009 at the Chet Atkins Appreciation Society (CAAS) convention in Nashville, Tenn., and then they were late additions to the CAAS 2010 Saturday night finale performance lineup based on what the gathering of international guitarists had heard from them during the week. You can see part of that performance here.

Together, Loren and Mark run the gamut of acoustic guitar performances of both original and arranged music. With a background of bluegrass, jazz and Western styles, their thumb-picking technique harkens back to guitar greats such as Atkins, Merle Travis and Jerry Reed. When performing original compositions, Loren brings amazing vocals along with Mark’s stunning harmonies.

They have already recorded two albums together — the first of which won the 2011 SAMMY (Syracuse Area Music Awards) Best Album at the Northeast Music Industry Conference — and have been touring as a duo since 2011. For more on Loren Barrigar and Mark Mazengarb, visit their website http://www.lorenandmark.com.

Reservations required for all events, please email sales@dreamguitars.com or call us at (828) 658-9795.

How it works….

  • Come join us at 3 pm and bring a dish to share and a bottle of your preferred beverage. It’s always a wonderful array of treats!
  • Show starts at 4pm and performers play two sets with an intermission to mingle and meet the artist!
  • Guitar demos available in the shop before and after the show.

Future Concerts/Clinics

Paul Asbell, Mr. Versatility on Guitar, August 3

Clive Caroll, From England! February 28 (7 pm)

 

1956 Gibson Les Paul Goldtop

This is a beautiful, all original vintage 1956 Les Paul Goldtop with a carved maple top and mahogany back and neck. It features a bound rosewood fingerboard with trapezoid inlay, a pearl logo and Kluson tuners with tulip shaped tuner buttons. It has many advanced features such as the stop tailpiece and Tune-O-Matic bridge made famous on late 50’s Les Pauls. This guitar features 2 “Soapbar” P-90 pickups with cream colored covers. Since it is pre 1960 it has a nice full neck. This guitar has that worn in feel that cannot be reproduced. This is a lightweight Gold Top that screams. The neck is simply wonderful, and the entire guitar sings with a classic tone from a bygone era.

“Ok, now we are having fun! This is the real deal, a completely original, solid, lightweight, incredible soulful 1956 Les Paul Gold Top – The one to own. This one has to be played to be believed. The feel is that special and the tone from the original P-90s is powerful. We all hope this one sticks around a while because it’s just too much fun to play! This is the market to buy instruments like this. You’ll be happy you did 10 years from now, both because of all the fun you’ll have had, plus it is sure to increase in value.” – Paul Heumiller

1930 Martin 000-45

 

 

 

This is a treasure. A well preserved 1930 Martin 000-45, quite simply one of the most collectible Martin Guitars ever made. Martin only made 21 of these in 1930 and only 341 in total. This pre war sweetheart embodies that Holy Grail tone all guitarist long for and all builders hold in esteem. Every note is alive and complete. This one plays like a new guitar and appears to be all original but for a pro refinish and proper replacement bridge. We are honored to offer this rare and special 1930 Martin OOO-45.

Please click here to hear this amazing guitar!

“We all feel very lucky to get to know this guitar if even for a short while. Just a moments play and you realize exactly why Martin Guitars from this era are held in such high regard. Big round bass, clear, present mids and bold and singing trebles make this as complete a guitar as a player could ever hope for. Collector’s will also be delighted by this vintage pre-war Martin 000-45, it is after all a Holy Grail of guitars.” – Paul Heumiller

    Measurements 

  • Body Size: Small
  • Scale: 25 2/5 in. (645.2 mm)
  • Nut Width: 1 7/8 in. (47.6 mm)
  • String Spacing: 2 3/8 in. (60.3 mm)
  • Body Length: 20 1/2 in.
  • Upper Bout: 11 in.
  • Lower Bout: 15 in.
  • Serial #: 41539
  • Body Depth @Neck Heel: 3 1/4 in.
  • Body Depth @Tail Block: 4 1/4 in.
  • Frets to body: 12
    Extras 

  • Cutaway: None
  • Pickguard: None
  • Case: OHSC
  • Pickup: None
  • Condition: Excellent, professional refinish, 2 perfectly repaired top cracks, no cleats. Newer belly Bridge. Everything inside is original, includes original case.

 

    Woods & Trim 

  • Back/Sides: Brazilian Rosewood
  • Top Wood: Adirondack Red Spruce
  • Fingerboard: Ebony
  • Neck Wood: Mahogany, 1 Piece
  • Bridge: Ebony Belly
  • Rosette: 45 Style Abalone
  • Binding: Ivoroid
  • Fingerboard Bindings: Ivoroid
  • Headplate: Brazilian Rosewood
  • Headstock Bindings: Ivoroid
  • Headstock Inlay: Torch
  • Top Trim: Abalone
  • Back Strip: Marquetry
  • Fret Markers: 45 snowflake
  • Tuners: original
  • Tuner Finish: nickel with ivory buttons

 

This guitar is now sold.

Paul’s Pick is a new feature on the Dream Guitars website that highlights exceptional vintage and handbuilt guitars that deserve more attention — guitars with exceptional tone, playability, appearance and provenance. For more information on the featured guitar, or any instrument we offer, please call Paul or Steven at (828) 658 – 9795.

Canadian luthier Jordan McConnell dropped by Dream Guitars last week and sat down for an interview with our own Paul Heumiller. For those who don’t yet know, Jordan is building outstanding, versatile instruments that are in high demand. As a touring professional guitarist with his band the Duhks, Jordan understands the needs of the guitarist, and his instruments deliver on all fronts.

Kathy

Kathy Wingert is an artist that has complete control of her medium. I met her for the first time at the most recent guitar festival in Ft. Lauderdale, at the Hard Rock. Her displays are hugely popular at guitar shows — the lines of her instruments are so elegant, the voices of her guitars are so original, the inlay work is beautiful and so…non derivative.

I have a tremendous amount of respect for Kathy’s skills. She is an exceptional luthier, and consistently builds instruments with supreme voices.

First a little biography please. How long have you been a builder? With whom, if anyone, did you study or do repairs? Please tell me about your “ah-ha” moment when you realized luthiery was to be your chosen path.

A tiny little seed got planted during a trip to a guitar shop, the World of Strings.  One of the employees showed me a billet of Indian rosewood and proudly proclaimed that he was going to learn to build a guitar.  I was very curious about where and how that got done, and he said he would be learning from his boss, Jon Peterson.

My ah-ha came during a moment of soul searching, which I happened to be doing in the library.  I was ready for a new chapter and a new direction, the kids had gotten old enough for me to start thinking that way, and I was wide open to new ideas.  As luck would have it there was a book on guitar making in my library.  (I wish I could say which book it was, I haven’t seen it since.)

Though I knew instantly and deeply that I could be good at guitar making, I also knew it would take a little time to find my path.  I was on the cusp of the internet, and back in those days, kids, you had to leave your house to get information.  I read my way through five libraries and had collected quite a few books, including books about sharpening chisels and the amazing number of ways a router could be used, but I hadn’t found in print the book that made it all make sense.  I really don’t know how long the discovery process went on, but one morning I woke up and I understood how to build a guitar, not from a plan, but from a design of my own.

The next hurdle was finding materials.  A kind employee of a woodworking store told me about a guitar making class at a community college, and after I had been in the class for two months, the instructor told me that Jon Peterson at the World of Strings was looking for someone.  I took in some necks I had carved and an electric drop top that I had completed and got hired in 1995.

Has being a woman, in a field largely dominated by men, been advantageous or disadvantageous in anyway?

It was annoying as heck in the busy repair shop.  If I went to the counter they’d just ask for the “repair guy.”  I think being a woman kept my client list a little leaner than some builders with whom I feel I am well matched, but time has sorted a lot of that out.  I do know that I have had more than my share of wonderful customers with whom I have enjoyed every part of the journey.

On your website, you mention that you are in love with your job, and how deeply you enjoy the creative aspects of being a builder. Can you tell me more about that emotional connection, and how it relates to building guitars for clients, who may have different preferences than your own?

The answer to that probably relates pretty closely to the issue of being a woman in a male dominated business.  I think many times the people I work with are just open to letting me do what I do.  I can tell you for sure guys have let me build some pretty frilly guitars for them while pretending it was my idea!

Look, I’m very invested in what I do, and I am emotionally connected, but I’m also 100 percent pro.  There is almost always a middle ground, and I can catch the vision even if a client’s tastes are different from mine.

Working with your daughter Jimmi must certainly add to the love and meaningfulness of designing and constructing your instruments. How does that collaboration work?  How much free reign do you allow her to incorporate her own ideas?

Jimmi just continues to get better and better busier and busier, so I’m loving what’s going out the door to other builders, and I stare meaningfully in her direction hoping she will have time for me again one day!

Jimmi works with me much the same way as she works with any builder.  A lot of the time she works directly with the client and then construction issues are sorted out with the builder.  When we’re working on one of mine we have the advantage of passing materials back and forth, but she works it out really well by mail too.

When someone calls you to commission a guitar, how does the communication process work? How do you discover what type of guitar to build for a client that has difficulty articulating how they’d like the

instrument to be voiced?

Sometimes it’s a matter of discovering how much a potential buyer might know about the subject of tone and wood differences.  If it’s an experienced collector I ask a few questions about what they like and/or don’t like about guitars that they’ve owned.  I always look for that little area of common experience and we work from there.  If it’s a less experienced guitarist or guitar buyer, I look for the same thing, but perhaps instead of talking about whether they like the punch of sitka or the twinkle of koa, I might ask a lot of questions about voices of singers or instruments in an orchestra.  The point, for me, is to find out whether they are looking for a guitar like mine.  Occasionally I have suggested other builders when I’ve felt there would be a better match up.

Speaking of voicing, please take me through the process of voicing a guitar with a contemporary sound, and how that differs from voicing a guitar that is more traditional.

I don’t know if I’m qualified to answer that one.  My work has been toward a sound that I wanted to hear, and I have learned through hard lessons what takes me away from that.  I have all the same anecdotal information about what makes a prewar Martin sound like they do, but I have never pursued that sound.

You have mentioned using a signal generator and Chladni patterns in voicing your guitars? Could you describe what Chladni patterns are and how you use them to help in the process?

When you play a harmonic on a string, you have divided it in segments, but the reason it physically works is because at the mathematical division of the octave or fifth or whatever, there is a nodal point on the string that allows it to vibrate freely around a still point when the conditions are right (meaning when the string is struck and your finger is on that node).  At those naturally occurring places, there is no displacement. When a guitar top is excited with vibrations, there are also nodal points and in those areas of little to no displacement, the glitter piles up.

The arrangement of the glitter patterns at a given frequency range indicates the efficiency of the top, or more instructively, the non-appearance of a pattern at a target frequency means I have work to do.

Chladni patterns are not a recipe for a great guitar, they are an indication of what you just did.  Hopefully, if you stumble on a great recipe, you can do it again.

I am not an expert on Chladni patterns or any other science approach to lutherie, so my use of glitter testing is merely a way to double check that I’m on the right track.  The range of frequency at which I get certain patterns are what I’m interested in, and the rest I do the old fashioned way.

The first Kathy Wingert guitar that I had the pleasure of playing had back and sides of blackwood. It immediately became my favorite tone wood, even passing Brazilian Rosewood as my tone wood of choice. Please tell me about working with blackwood, how you view its tonal characteristics, and when you would recommend it over Brazilian.

I love AB, but I’ve come to hear it very differently from Brazilian, and for a long time I wouldn’t have said that.  What I like and what I hear in the heavy woods, AB and cocobolo is a weightiness and sustain in the mids.  If you try to hold me to a blindfold A/B test, I’ll be happy to tell you that I learned a long time ago it’s darned hard to do!  I believe that 90% of tonewood choice has to do with the feedback the player gets and has very very little effect on the listener 15 feet away, at least not if there is any other noise in the room.

How important are trade shows and guitar festivals for bringing in new clients and expanding the growth of your business?

I think the trade shows and festivals are enormously important for custom lutherie as a whole.  I know I personally benefit from doing them, though many times it is long after the show.  I always see or hear something the kicks my fanny.  I also believe it’s really important for the community as a whole to show up, present well, and let people know that we are accountable to a larger community.  As a community, professional luthiers have built a lot of trust.  We have buyers who write checks for a deposit on something they aren’t going to see for years.  That’s huge.

You seem very environmentally aware. How can the traditions of luthiery evolve to embrace a new “greener” philosophy?

I might be wrong, but I think small builders working on a few instruments are remarkably green.  We waste as little as possible and most of us don’t do a lot clothes or shoe shopping for this career.  Many of us commute only a few steps from the house to the shop.

I am going to guess that the nastiest thing we do is over use abrasives.  I love working with planes and drawknives, but I have power tools and it just goes faster.  If I were to grab for that knife, the dust collector could stay quiet.

As for the protection of exotic hardwoods, it’s important to care, and it’s important to stop asking for woods that are in trouble from places that are over harvested.  The highest and best use of precious exotic woods is in fine instruments, and some of the controls that are in place should go a long way toward stopping the indiscriminate use of fine woods on not so fine factory instruments, or as flooring or lawn furniture.  It’s also important to understand that the trees won’t be protected if they have no commercial value, so it is important as a community that we fight for the woods that we need.  For those who are somewhat new to the subject, please re-read that last line!

Please tell me about your fascination with Harp Guitars?

That was a case of a customer wanting something I didn’t really want to do.  In fact, I refused for more than a year.  But the customer was a friend and he has patience, so he wore me down.  After I built one and had a minute or two to try to play one, I was interested in building more, if only for my own use.   I haven’t been able to hang on to one long enough to learn much, and what I do work out on one is easily forgotten, but harp guitars aren’t meant to make guitar playing harder, they are meant to make it easier once you get a toe hold.  The jumping off place is a lot more difficult on harp guitar, and I’m still there.

Some of your larger harp guitars have sycamore back and sides. Why sycamore? Tonally, what does this wood offer?

Some of my harp guitars are sycamore because I had it!  Harp guitar sets are hard to come by and I thought it would look cool.  It was very successful for harp guitar because it didn’t add a lot of clutter to the bass.  The bass was clear and strong, but not ringy.  The first thing you have to learn is to find the sub basses on a harp guitar, the second thing you have to do is shut them up.  I haven’t built a standard six out of sycamore, so my experience with it is limited to the outcome of those two harp guitars.

When I play your guitars, I am always impressed with the strength of the treble frequencies all the way up the neck, and how well balanced they are with the lows and mids. What is the secret to building an acoustic guitar that has such strong treble fundamentals?

Thank you!  Again, I can only tell you that my recipe has been added to over time.  I tease that it used to take me 120 hours to build a guitar and now I’m pretty sure it takes me twice that long.  There are all the added steps that I have acquired over the years.

I think one of the big secrets in guitar building, and one that gets talked about very little has to do with how well the neck tunes to the body.  I’m really lucky that my steel string headstock seems to be about the right size and weight.  I have nodal points that fall pretty much where I need them to be, and that little extra adds to consistency up the neck – or so my violin making mentor taught me.

In the next 5-10 years, what do you envision for Wingert Guitars? Will there be a continuing evolution in your designs? Will you branch off in new directions?

I have been working on something old rather than something new.  I love classical guitar and I have started taking time to pursue that.  I’ve built some passable classicals and have sold them at fair prices for their abilities, but I am ready to take commissions on classical guitars now for the right buyers.  By the time this goes to print, I will probably have had time to prototype the last couple of things I want to iron out.

I’ve learned over the last couple of years that I really enjoy teaching, but my personal evolution isn’t complete yet.  So much of what I do is intuitive or ingrained, it is hard for me to break it down for someone else, so in the next few years, I would like to get better at that kind of communication.  I think it might be so appealing because it is at a completely different pace from the daily madness of wearing all the hats.   To explain the steps to someone else simply requires taking a deep breath, and that’s kinda nice.

Finally Kathy, do you have any additional thoughts that you’d like to share with our readers, i.e., thoughts about guitars, information about you, thoughts about creativity, life lessons… anything?

Well, all of your readers need a Wingert guitar because they know lots of songs, will entice your creative muse to show up,  and will even improve your singing voice in just 14 days!

My great thanks to Kathy for her participation in this interview. Dream Guitars is proud to carry her uniquely voiced one of a kind creations.

 

Steven Dembroski

 

 

 

 

 

Walker Twins

Walker Twins

I warn you, if you haven’t seen these guitars already, you may want to sit down. These two Scott Walker Custom Twins are the very same instruments that were the hit of the recent NAMM Show in Anneheim, CA. Crowds gathered around to see the intricate sculpting, deep quilting and exceptional details that only Scott Walker could imagine.

 

Mr. Walker is an exceptional builder. His instruments are rich with unique appointments and custom features that set them far ahead of the pack.

Honduran Mahogany

Honduran Mahogany

With Scott’s recent set of twins, he has taken his craft to yet another level creating instruments that are timeless and at the same time revolutionary.

 

Shared features include gorgeous, solid Brazilian Rosewood necks. The color is so dark and chocolaty you might just be tempted to sink your teeth into them — but don’t do that! These necks have been shaped to perfection, and are appropriate for guitarists playing any genre. The feel of natural Brazilian Rosewood against the palm of your hand is natural, and so comfortable, you’ll find yourself playing things you never knew possible.

The bodies are made of gorgeous flamed Honduran Mahogany, and capped with exquisite quilted maple so deep you could swim in it. The slightly tinted very natural color brings out the nuance and detail of the maples figure, and lends an earthy sophisticated look to the guitars.

Scott Walker is one of a very small handful of builders that we represent at Dream Guitars. We know our clients only want superior instruments, so we are extremely selective in who we choose to represent. Scott Walker’s inspiring creations, go way beyond what conventional electric guitars offer.

Call us to find out more about these exceptional instruments, and learn how they can be yours today. We prefer to sell these 2 as a set, but we are very happy to discuss individual purchases with you as well.

Don’t miss this chance to own a part of the Scott Walker Legacy!

Even more waiting to be added to the DG website.

A few weeks ago, Paul received a call from a gentleman he’d never spoken to before. Like many conversations with Paul, this one ranged from guitars and motorcycles, fast cars, and the finer things in life.

John's Classical Guitar Shrine

John's Classical Guitar Shrine

The callers name was John, and within a few minutes he and Paul discovered that they had many things in common. What transpired from that first call lead up to a monumental event of Paul dropping everything, and driving North in the largest empty white van he could find. The next day, Paul returned to Dream Guitars in Western North Carolina, but this time the van wasn’t empty. If fact it was packed floor to ceiling with over a half a million dollars worth of the finest nylon string Classical Guitars we’ve ever laid eyes on.

Cases upon cases.

Cases upon cases.

Paul explains:

“One of the true joys of this business is the chance to touch, feel and play music on bits of history. Guitars are treasures and they tell a story. I was honored to get a call from John asking us to represent his prized collection of some of the very finest Classical and Flamenco guitars ever made. I dropped everything and drove 4 states away very excited to see the fruits of his years of collecting guitars. We spent a wonderful Sunday open case by case, each more impressive than the next, Monch, Pena’ Fernandez, vintage Contreras, Ramirez and Kohno, modern gems such as Blackshear, Redgate and Humphrey. There is even an unplayed 1994 Schneider Kasha guitar complete with a video of Richard Schneider discussing his design. Flamenco guitars by Ramirez, Conde Hermanos, even a rare Valda Sobrino Domingo Estesos, and a Ruck Flamenco cutaway. Just astonishing instruments!”

A small percentage of the collection.

A small percentage of the collection.

It may takes Dream Guitars a few months to get all these stunning instruments on to our website, but if you are a lover of Classical and Flamenco guitar, we invite you to make a trip to our shop now. Flights into Asheville put you just 30 minutes from us. We humbly offer you the chance to play the very finest collection of instruments perhaps in the whole of the U.S. Come enjoy them with us. You will be amazed.

The following builders are included in this collection, with multiple guitars from several of the builders:

Brand Model Product Year
Andres Caruncho Classical 2001
Bella J. Gemza Concert 1973
Bellucci Concert
Bernabe Concierto 2002
Blackshear Concert 1999
Blackshear Flamenco 2007
Bogdanovich Guitars Concert 2005
Conde Hermanos Concert 1986
Conde Hermanos Domingo Esteso Reedicion 2004
Conde Hermanos Flamenco 1962
Contreras Double Top 1985
Contreras 1969
DeVoe Flamenco 1988
Edgar Monch Concert 1972
Francisco Barba Flamenco 1968
Gioachino Giussani Concert 2008
Greg Smallman Reproduction Lattice Braced 2002
Hermanos Yague Concert 1987
Humphrey Millennium 1993
Ian Kneipp Concert 1998
Jeff Sigurdson Flamenco
Jeronimo Pena Fernandez Concert 1974
Jeronimo Pena Fernandez Flameco 1995
Jose Oribe Concert 1972
Jose Ruiz Pedregosa Concert 2004
Kohno 15 1977
Kohno 20 1976
Kohno 30 1980
Kohno 5 1970
Kohno Professional J 1993
Kohno Professional R 1989
Kohno Special 1993
Kohno Special 1996
Kono 3 1964
Manuel Rodriguez Concert 1982
Manuel Rodriguez e Hyos La Magnifica 2010
Manuel Rodriguez e Hyos La Maja 2010
Manuel Rodriguez e Hyos La Mereuilla
Miguel de Cordova Flamenco
Moreira Anniversary #1 2005
Moreira Hauser 2004
Moreira Santos 2003
R.L. Mattingly Concert 1968
Ramirez 1a La de Camara 1991
Ramirez Flamenco 1959
Redgate Lattice Braced 2006
Ricardo Sanchis Solista 1996
Richard Schneider Kasha 1994
Rubio Concert 1967
Ruck Flamenco Cutaway 1996
V. Da y Sobrinos De Domingo Estesto Flamenco 1950
Velazquez ‘Shop Guitar’ Concert 1961

ARTINGER CUSTOM GUITARS

ARTINGER CUSTOM GUITARS

The first time I spoke with Matt Artinger, I was blown away by his enthusiasm for designing and building exceptional guitars. Matt has an aura of “creative genius” all around him, and that energy is transferred in every single instrument he builds. Every Artinger Guitar is a great guitar — mediocrity is not in Matt’s vocabulary. That is why we are so thrilled to be representing Artinger Custom Guitars at Dream Guitars.
Incoming Artinger Trio!

Incoming Artinger Trio!

In the coming months Matt will be building a series of elegant, extraordinary guitars to be offered in our new Dream Guitars Electric Guitar Showroom. I encourage you to visit our shop, and give these great instruments a thorough. Your definition of what an electric guitar can be, will be forever altered!

Here are the first 3, due in soon! Call Paul Heumiller today to reserve yours!

James Olson, Larry Robinson, Kevin Ryan, and Michael Keller

Clearly, luthiery requires a diverse set of finely honed skills, but it also requires a deep aesthetic understanding. Do you consider yourself more of an artist or a craftsman?

I definitely consider myself a craftsman with a very strong artistic sense. I had always been fond of arts of all kinds — decorative, interpretive, pre-modern, impressionist, surrealistic. I am fond of many types of art. But I’m also very fond of many types of crafts, pottery, jewelry and knife making, and furniture. This is the world of my imagination.

MICHAEL KELLER

MICHAEL KELLER

When you’re starting to build a guitar and you’re trying to picture it in your visual mind, many artistic considerations come into play that go beyond crafting a fine sounding guitar. Different colors of wood, different colored shells, colored purflings, bindings and shapes, all become a pallet that is available to you to compose a beautiful looking instrument.

One must also realize ultimately you’re making a tool for a musician. No matter how beautiful or arty a guitar looks, if it doesn’t play well and sound great I don’t care how arty it is. I would much rather have a guitarist tell me, “I love the sound of the guitar”, rather than “the sound is OK but the inlays are great”. It’s really totally about the sound and playability.

Recently, flying back from a guitar festival I noticed one of the editors of a guitar magazine on the plane who had been at the show. We started talking, and he mentioned that he had played a lot of very expensive heavily inlaid guitars that didn’t play or sound very good. He said exactly what I was thinking from my own experiments at the festival. A lot of the guitars at the show were designed to be eye catching, but a lot of effort had not been put into making them play well. So the artistic side of guitar making is a field that one should embrace carefully, making sure the instrument sounds and plays well first. After that, as far as I’m concerned, anything goes.

Read more

John Osthoff 000-12C

This gorgeous new John Osthoff 000-12C is headed toward the Dream Guitars showroom. A stunning guitar with gorgeous African Blackwood back and sides! Give us a call to find out how this exceptional instrument can be yours!

John Osthoff 000-12C

John Osthoff 000-12C

Osthoff 00-12C

Osthoff 00-12C

Large Accessory Box

All of us at Dream Guitars are huge fans of the Paul Reed Smith line of Private Stock acoustic guitars — and we’re not alone. These are great sounding instruments with exceptional playability. And now, we’re thrilled to bring you the newest addition to the line, two exceptional new signature models for guitar legends Tony McManus and Martin Simpson.

“It’s an ironic thing to say about such a beautiful instrument but it becomes invisible- leaving the player to concentrate solely on the music- which is what it should be all about. The Tony McManus signature model is based on the Angelus model but with the PRS wide fingerboard. The bridge and fingerboard are in ebony, and the Private Stock wood choices are pretty spectacular. The guitar is capable of going anywhere I’m capable of going musically. It works beautifully as a solo fingerstyle guitar but if I need to flatpick, it’ll go there too. It’ll accompany songs, tunes…whatever I need…tuned high and tuned low, gently caressed or driven hard,” said Tony McManus.

PRS TONY McMANUS ACOUSTIC GUITAR

PRS TONY McMANUS ACOUSTIC GUITAR

Tony McManus Private Stock Acoustic Specs

Tony McManus Private Stock

Tony McManus Private Stock


Shape 15 1/2″ Cutaway
Bracing PRS X-brace/classical hybrid
Back and Side Woods Cocobolo
Top Wood European Spruce
Neck
Neck Wood Mahogany
Fretboard and Bridge Wood Ebony
Strength Rod High-Modulus Carbon Fiber
Inlays Mammoth Ivory J Birds
Hardware
Nut Bone
Nut Width 1 3/4″
Saddle Bone
Tuners Proprietary Robson Hand-Machined Tuners
Tuner Buttons Ebony
Electronics
Electronics PRS Pickup system

MARTIN SIMPSON PRS ACOUSTIC

MARTIN SIMPSON PRS ACOUSTIC

“The new Martin Simpson signature model guitar is simply the result of the PRS team being truly attentive to the feedback of a player. I have felt privileged to be able to tell them what I think will make a better guitar for great acoustic playing, and they have listened to my input from materials to neck width and string spacing, pick up sound and inlays….and when the last model arrived, I was blown away by the results. The new signature model is entirely the best materials, and the specs which I asked for, presented in a deluxe version. It is a great instrument made by people who care and strive always for the highest standards in tone, playability, workmanship and aesthetics.” – Martin Simpson.

Martin Simpson Private Stock Acoustic Specs

MARTIN SIMPSON PRIVATE STOCK

MARTIN SIMPSON PRIVATE STOCK


Shape 15 1/2″ Cutaway
Bracing PRS X-brace/classical hybrid
Back and Side Woods Cocobolo
Top Wood Adirondack Spruce
Neck
Neck Wood Mahogany
Fretboard and Bridge Wood Ebony
Strength Rod High-Modulus Carbon Fiber
Inlays Green Abalone J Birds
Hardware
Nut Bone
Nut Width 1.81″
Saddle Bone
Tuners Proprietary Robson Hand-Machined Tuners
Tuner Buttons Ebony
Electronics
Electronics PRS Pickup system

Click here to hear examples of Tony’s amazing playing on the Maker’s Mark CD!

Click here for the review in Acoustic Guitar magazine.

This week’s interview is with Gerry Humphrey of Humphrey Amplifiers. Mr. Humphrey’s amps recently made their debut at Dream Guitars. In a world of solid state acoustic guitar amps, the Humphrey Espresso really stands out. Beneath the beautiful hand crafted wooden cabinet beats the heart of a high fidelity tube amplifier. Paul, Al, and I took this sophisticated new tube amp for a spin, and found it highly accurate, full of great tones, and a delight to use.

Humphrey Amplifiers Espresso

Humphrey Amplifiers Espresso

Could you tell me a little about your background, and how you got into designing boutique acoustic amplification?

I’ve been in love with music, particularly the guitar, as long as I can remember, Steven. As a 12 year old, my first tube amp was a little Marshall 10W that I used to terrorize the neighbors! Of course, it wasn’t long before I was ‘encouraged to play acoustic instead.

Later, my chosen career path had me graduating from college in Scotland as an electronics engineer and jumping into the world of hi-tech — where I stayed for almost 30 years. My very patient wife and family stuck by me as promotion also meant several relocations, with the USA welcoming us 20 years ago.

Most recently I was an executive at a Fortune 100 company, but for the last couple of years I wasn’t truly enjoying what I was doing. That’s very important to me – life’s too short to spend it working on something that doesn’t inspire you.

I’ve always had an itch to start my own business, and when a good friend told me of his frustration at not being able to find the perfect amp, I did some market research and found there could be a real opportunity for the ‘right’ design.

What is your connection to luthier Brian Applegate?

We’re fortunate to have him as a neighbor. Brian was the good friend ‘that planted the amp seed about 5 years ago. He gave us the idea in the first place – the initial concept was his, and knowing my engineering background and love of the guitar he encouraged me to take a serous look at it. Brian not only gave me encouragement, he also offered advice and support as I fleshed out the initial design and the multitude of prototypes that followed.

He was our initial test-case too. We knew the circuit design wouldn’t be right until Brian was happy. That entailed countless tweaks, modifications and even a few total redesigns before we saw him grinning like a Cheshire cat when doing a sound check. That process took months, sometimes with multiple tests on the same day, but more typically one or two days apart. We called it ‘death by Brian’ 🙂

Following that, we left a couple of prototypes at his shop and he was kind enough to bring in his own customers to try them out. We’d hoped to get some constructive feedback, expecting to make some design changes. Instead, we got orders. We were blown away by the response – and apparently the customers were blown away by the sound. I guess we knew we were really onto something good at that point.

If a product, any kind of product, is going to be successful, it has to solve a problem.
Here’s the problem: Brian not only makes very beautiful acoustic guitars that sound incredible, he plays too, so he obviously has a very good ear for tone. When he needed amplification, although having various acoustic amps, microphones, PA’s etc., he found the closest he could get to the sound he really wanted was when using an oversized electric guitar amplifier, dialed down to keep it in a very narrow clean zone.
It sounded pretty good, but didn’t quite fit with the image or the surroundings.

He wanted the warmth and fidelity that only a tube amplifier could offer, but in a package that was more suited to a hand-built acoustic guitar, and didn’t look out of place in his living room.
With that in mind, I spent a lot of time looking at what’s available in the market, what people were actually using and asking lots of questions. Many people make compromises when it comes to amplification, playing their custom acoustic guitars through sound-systems & amps that effectively strip the rich and complex tones.

Some, like Brian, struggle to find the setup that lets them hear just how their guitar sounds, only louder.

Espresso Control Panel

Espresso Control Panel

A lot of folks actually enjoy the challenge, develop sophisticated setups using particular pickup systems and/or mics and swear by a specific brand/model of amplifier. Mostly, they’re happy with the result, for a time anyway.

 

What we wanted was a ‘living room friendly’ tube amplifier – one that was designed specifically for acoustic guitars. Sounds reasonable – after all, the best (and most expensive) stereo hi-fi amplifiers still use vacuum tubes today.

That’s why the Espresso amplifier incorporates a lot of hi-fi design methodology.

I was very pleased to learn that your amps employ EL84 tubes. Most people associate that tube type with the great Vox amps of the 1960’s and early Marshall 18 watt amps. How did you come to use this tube in the power section, and what does it offer that other tube types do not?

I love those amps, and the sound they get from the EL84’s. With an electric guitar of course! They’re set up to overdrive the EL84 tubes, pushing them to saturation point, giving the resulting sound a kind of ‘chime’ – the type of distortion that’s very pleasing to the ear.

If you don’t overdrive the EL84, in other words, you keep in the ‘clean’ zone, it’s wonderfully clear sounding. Some people say it sparkles or shimmers or words to that effect, but it’s a very subjective thing. Fact is, the ‘clean zone’ is ideal for the power level of this amplifier and the dynamic range of an acoustic guitar.

I did a lot of reading and a lot of testing and concluded not only that EL84’s were best suited, but that the JJ Electronics manufactured EL84’s, supplied by Eurotubes were the best sounding.

Your choice of speaker is quite unique. Could you tell me about it, and what led you to choose it?

Everything about tube amplifiers for electric guitars is designed, intentionally, to change the sound of the guitar in some way, including the speaker. Guitar speakers are made to breakup at a particular volume, or change the shaping of the frequencies produced in some manner – that kind of thing.

Espresso

Espresso

What we needed was a speaker that didn’t color the sound at all, one that simply produced an image of the signal driving it: a hi-fi speaker. Actually, it’s a 2-way speaker with a horn for the high-end and an Eminence 10” for mid/bass.

 

To make sure the 15W output from the amp didn’t come anywhere close to overdriving the speaker we looked for one that was built to handle much higher power levels, but with characteristics that would be ideal for the dynamic range of an acoustic guitar. There were a few technical specs in particular that we were looking at as we did our research, and then there was the testing . . .

It was both interesting and comforting that the lab test results matched with the choices made by our volunteer guinea pigs. The number one choice, by far, for clarity, transparency and ‘authenticity’ lined up with the one our measurements suggested would be best.
However, as time allows we’ll continue to look at other speakers to see if we can make improvements or simply offer options for customers.

Your cabinets can be built in a variety of optional hardwoods, which of course have different densities. Have you noticed any significant tonal changes when using, for example, walnut compared to maple?

Not particularly. If there are any, they’re very subtle. If anything, the parts that could alter the tone are the speaker baffle and the back-panel, but they’re made from 14-ply baltic birch so there’s not really any tone altering that happens there.

Type of wood obviously makes a huge tone difference in guitar construction. Consider the structure, the thickness of the wood compared to the width & length. It’s all designed to amplify and shape the sound.

In our cabinets, the top, bottom and sides of the box frame are made from 3/4” hardwood panels, dovetail jointed and glued. Relatively small panels, thick wood, very solid construction, not prone to vibration, that won’t alter the tone to any discernible degree, is what we’re aiming for.

If someone wants an Espresso with an effects loop, is that a possibility? What other options do you offer?

The short answer, Steven, is yes. There’ are some circuitry changes that need to further be refined before we’d release it, but that option is definitely in the plans for the near future.

We’re getting requests for different input/output configurations: dual channels; mic/instrument; XLR in; AUX in for iPod , balanced DI out, etc. To satisfy those, we’re working on a kind of ‘universal’ plug-in for the inputs, and we’ll address output needs on an individual basis.

On the inputs – we’d be able blend the channels at individual levels but we’d still be limited to a single tone stack with the space on the current control panel. Eventually, we may move some of the controls to the side or back to allow for more space.

Part of the initial concept was to keep it simple and clean, focusing on the quality of the sound, and having specific sound/tone tweaks satisfied through external boxes, pedals etc.

That’s how many folks tweak do it currently, but there’s growing interest in having it ‘in the box’. We like to cater to any requests that we can because that’s what customization is all about.

Humphrey Amplifiers Espresso

Humphrey Amplifiers Espresso

Although not a hard request, another option that’s been suggested is a parametric equalizer/notch-filter. So far, we’ve resisted using any solid state & we’d prefer not to go there, so we’ve been working on doing it the old-fashioned way. It’s a pretty complicated filter network, and to do it right adds a big chunk of circuitry. Right now, we’re not happy about how it effects the overall sound, but we’ll keep working it.

Will you be expanding your line to include amps for electric guitar as well?

At some point, Steven, that would make sense. It certainly would be an easier design than our acoustic amp, because we had to figure out all the things that went into making a tube amp do what it does for the electric guitar sound, and then eliminate them.
Likely, the first step would be to design for archtops & hollow-body electrics — something that retains the clarity but introduces a more bluesy/jazzy tone to the mix.

But there are other more organic products we’d like to do first. Two things that are in the plans are an extension cabinet and a dual-channel pre-amp.

Interestingly, something that wasn’t planned until much later is a stereo hi-fi model, based on the Espresso 15. Something you could plug your iPod into and get great sounds out of. However, having stumbled into a discussion about it at a recent trade show, we now have a customer that wants a significant number of them, so we’ll be bringing it out a lot sooner than we planned.

It’s actually very cool – and it’ll give us a platform for the dual channel pre-amp too – so we’re pretty excited about that.

What does your tube amp offer tonally that a player cannot get from a solid state device?

A more life-like sound. That’s the bottom line. Yes, the tubes are a big part of it because of the physics of how they work, and how we perceive/process sound. A small, but very important point is that using tubes allows for a much simpler circuit (signal path) than solid-state, with fewer components and connections, and therefore less interference in the signal path. That’s a really good thing for acoustic instruments.

One key area that’s often overlooked in the typical tubes versus solid-state debate is dynamic range – what some folks describe as ‘touch’ or ‘feel’. What I mean by that is the way in which an amplifier responds to changes between soft strumming & hard picking. Tubes run on very high voltages (ours run higher than 300 volts), which means they can respond more rapidly to the strength of the note played. It gives the player a much more natural ‘feel’.

Those things, along with the cabinet design – unique venting & offset speakers – give you an experience that’s a lot closer to the sound of your guitar than any solid-state amplifier can.

Are your amplifiers point to point, hand wired?

All our amplifiers are hand-wired. We use military-spec (very heavy-duty) fiberglass board with turret-pins staked in the appropriate spots. The components are mounted on the board and silver-coated hookup wire is used to connect them to each other and to the tubes. Oh, and the solder has a high silver content too – all good things for signal integrity.

We looked at using the point-to-point method (components soldered directly to each other and directly to tube pins) and although it would have been easier, we decided quality assurance would be more consistent and reliable with the board/turret scheme.

Finally, do you have any other thoughts that you’d like to share with readers of our blog?

We may be a new name, but we’ve put a tremendous amount of time into ‘getting it right’ and we’re very excited (overwhelmed, actually) about the reception we’ve had so far, Steven.

Also, we’re really pleased to be working with Dream Guitars. I know from talking with several luthier friends that Dream Guitars is very selective about the products you offer your customer base – and for good reason. The reputation you have, in the market you address, is extremely high so you need to make sure they meet the high standards your customers have.

My last words (for now 🙂 Steven, would be to let your customers know that testing a Humphrey is very likely to cause a sudden increase in their ‘gear collection’. So far, all but one person that’s tried a demo has either ordered an amp or seriously plans to within the next couple of months. The lead-time is reasonable right now (around 8 weeks), but expected to grow pretty quickly.

Thanks Steven – great questions!

Humphrey Amplifiers Espresso

Humphrey Amplifiers Espresso


Humphrey Amplifiers are stocked by Dream Guitars, and can be special ordered to fit your particular requirements. Please call Dream Guitars for more information.

 

    COMING SOON! PRS PRIVATE STOCK SC HBI w/ PIEZO – BRONZE!!!

    Check out the specs and give us a call to find out how this gorgeous guitar can be yours!!!!

    PS# 2956- SC HBI w/ Piezo– Bronze

    PAUL REED SMITH PRIVATE STOCK #2956

    PAUL REED SMITH PRIVATE STOCK #2956


    – 1pc Blistered maple top
    – Korina back
    – Mahogany neck
    – Cocobolo fingerboard, veneer and truss rod cover
    – 10k Outlined birds & PS Eagle only
    – Wide Fat neck carve
    – Gold side dots
    – DG-T finish
    – Archtop pickups
    PRS PS #2956

    PRS PS #2956


    – SC HB electronics
    – Gold hardware

    PRS PS #2956

    PRS PS #2956

As we launch our new website — we thought it was a great time to introduce ourselves

Dream Guitars Entrance.

Dream Guitars Entrance.

to guests who may be visiting Dream Guitars for the first time. And for our old friends, we’d like to remind you of the many reasons we believe Dream Guitars should be your number one destination for custom, hand-built guitars.
Click here to launch video!

I’d like to take a few minutes and talk about experience. Dream Guitars grew out of a joint endeavor with world -renowned acoustic guitarist Martin Simpson. That experience led to the creation of a new type of guitar store.

Since 1995, Dream Guitars owner Paul Heumiller, has been bringing the very best custom and hand built acoustic instruments to an eager audience. Respected as a leading authority, Paul sits on the Board of the prestigious Association of Stringed Instrument Artisans, and is a member of the Guild of American Luthiery, and the Guitar Foundation of America.

Paul Heumiller

Paul Heumiller

Our shop is staffed by professional guitarists, including legendary Grammy Award winning Al Petteway. Unlike other shops, we won’t ever rush or pressure you. You get one-on-one consultations and guidance — and every opportunity to ask as many questions as you need to.

We seek out the best builders, and are highly selective before giving instruments the Dream Guitars seal of approval. Even our pre-owned inventory is given a full inspection — inside and out. Only guitars with superior tone and exceptional build quality are accepted. You can buy with confidence knowing we only offer the best.

Additionally, Dream Guitars offers a generous 3 day trial on any guitar shipped domestically. We are also experts at international shipping. We’re happy to ship to your home — wherever you are, and whenever you want. Our rates are very fair, and all of our instruments are fully insured.

We also take the fear out of ordering custom guitars. If you are not fully satisfied with a special order, we’ll resell your instrument, and refund the entire purchase price to you.

Do you have a guitar sitting around, that you no longer play? Dream Guitars can help there too. We have a highly successful consignment program that will help you get top dollar for your pre-owned instruments.

In addition to all of these things, Dream Guitars offers world class repairs, with all repairs performed by our highly skilled, carefully selected luthiers. Together, our repair department has decades of experience. No job is too big or too small.

Located just minutes outside of Asheville, North Carolina, the Dream Guitars showroom is nestled in the splendor of the Blue Ridge Mountains. Our shop is run by appointment — so when you visit, you will get our undivided attention, and as much time as you need to explore the nearly 200 guitars on our private showroom floor.

So give us a call, and let Dream Guitars be your experienced guide to the world of custom, hand-built guitars.

Photos From The Mountains -- by Al Petteway.

Photos From The Mountains -- by Al Petteway.

When visiting the Dream Guitars showroom, you’ll want to take full advantage of all the great opportunities that the Western North Carolina area provides. No matter what you like, Asheville has something for you. Click here to launch video!

Frommer’s named Asheville a must-see destination, and it’s easy to see why. The mountains are ideal for hiking, and other nature adventures – like zip line canopy tours, abundant mountain biking trails, and whitewater rafting. Our scenic drives bring you into the heart of the Blue Ridge Mountains, and the pristine wilderness.

If the great outdoors isn’t your thing, pamper your self at one of Asheville’s famous spas. Also, our downtown offers many unique shopping opportunities, and an unmatched variety of world-class restaurants to choose from. The areas top chefs are regularly recognized for their culinary excellence.

Asheville is known for its beautiful and historically significant architecture — from the historical Thomas Wolfe Memorial, to the majesty of the Biltmore Estate and it’s epic mountain views.

Asheville is famous for its rich, eclectic, thriving arts community. Whether you are interested in visiting galleries in the River Arts district, checking out fine arts, theater or folk arts — it’s all here for your enjoyment.

Photos From The Mountains -- by Al Petteway.

Photos From The Mountains -- by Al Petteway.

And then there’s the thriving Asheville music scene. Drawing performers from around the world, Asheville has become a key destination for performers of all genres. You’ll find the Asheville Symphony Orchestra, traditional mountain music, as well as a thriving local music scene – and of course our legendary drum circle in Pritchard Park.

The New York Times said, “Scores of talented acoustic musicians call Asheville home.” and the Houston Chronicle echoed, “The music scene in Asheville is boiling and about to explode.”

When you visit the Dream Guitars Showroom, you’re at the epicenter of the best guitars on the planet. So why not visit and play some great guitars — then explore this wonderful town of ours? We’re sure you’re going to love it here!

Tag Archive for: Paul Heumiller

Paul: I travel the world to go to the best high-end custom guitar shows looking for the finest instruments, and more importantly, for relationships with makers that can become part of the Dream Guitars family. For years now I’ve been seeing Otto D’Ambrosio at the shows and I’ve been completely enamored with his sophisticated, elegant and downright beautiful guitars. It should come as no surprise since he’s a lead designer with Eastman Guitar company. But at home, on his personal bench, he’s making one of a kind works of art. And we are delighted to be representing his work directly to our clients of Dream Guitars around the world. D’Ambrosio only builds a few instruments a year and we will be his exclusive dealer for them. We couldn’t be more delighted.

Logan: I’m quite excited to be working with Otto–his work is fresh, inventive, and frankly gorgeous. With his sterling pedigree from working with Flip Scipio and John Monteleone, it’s no wonder.

https://www.dreamguitars.com/shop/2017-d-ambrosio-angel-city-italian-maple-european-alpine-spruce-2213.html

Chapters:
0:00 D’Ambrosio Angel City Demo with Duane Simpson
1:15 Guitar Details with Logan Wells
3:34 Unplugged Outro with Duane Simpson

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