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nkforster

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A friend of mine suggested this might be a suitable place to mention my recently self published book about guitar making and design. Hope you don't mind!

This is a bit of the blurb

"Between the ideal and the possible by NK Forster and Dave Best book is the product of a long project between photographer Dave and English guitar maker Nigel. Dave visited the workshop many times to try and capture the essence of what it is I do for a living. I think he may have succeeded. The images follow the story of the raw timber being worked and fashioned into musical instruments, documenting many stages, methods, tools and techniques. His sharp eye for composition has picked out may beautiful details and facets of the process.
In addition to the many superb photographs I’ve written a series of essays on subjects that important to this trade. The subjects covered include: sound, design, timber and timber selection, construction, beauty, longevity, playability, intonation, the battle between hand and machine work as well as the motivation and rational behind my work and experiments. My wish is that those seriously interested in instrument making and design should glean much from the contents and be better placed for gaining “lutherie insights” of their own."

I'm selling it through ebay and an online bookshop called YPD.

Comments and questions welcome!

nigel

nkforsterguitars
 

Scouse

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Nigel, thanks for flagging the book up, I did enjoy your youtube workshop videos a year or two ago and the book sounds interesting too, good luck with it.

El.
 

treds1

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I already have a copy of 'Between the ideal and the possible' book and would thoroughly recommend. Its not a 'this is how you build a guitar' book, but there is some stunning photography and Nigel's short essays on guitar design and construction are quite thought provoking.

Regards

Nick
 

nkforster

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Steve Blackdog":3r7pk4tc said:
Hi Nigel

Is this for acoustic or electric guitars? (or both)

Cheers

Steve
I make acoustic instruments and some of the text is quite specific, but much - especially the design aspect of the essays applies to both. Hope that helps.
 

Lord Kitchener

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I think your post reads a little bit like an advertisement, not sure how well that will go down with the moderators.
 

nkforster

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Lord Kitchener":233w3lqd said:
I think your post reads a little bit like an advertisement, not sure how well that will go down with the moderators.

Well, aye, this is true, but it's a good book, that I'm very proud of, which may well be of interest to many who frequent this place. But if it upsets you, then I suggest you let them know. That would be the sensible thing to do.

nigel
 

Lord Kitchener

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nkforster":32tmra70 said:
Lord Kitchener":32tmra70 said:
I think your post reads a little bit like an advertisement, not sure how well that will go down with the moderators.

Well, aye, this is true, but it's a good book, that I'm very proud of, which may well be of interest to many who frequent this place. But if it upsets you, then I suggest you let them know. That would be the sensible thing to do.

nigel
:mrgreen:
It doesn't bother me in the slightest, but I expect they will find out for themselves soon enough, and then their thoughts on the subject will be made clear.
 

nkforster

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Fair enough - so if any of you have any guitar making questions this would be a good time to ask them - I've been making instruments for 24 years and I've made quite a few. Ask away!

nigel

nkforsterguitars.com
 

nkforster

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Kalimna":5w5tekd2 said:
I shall look out for this, and post any questionns when they arise - but getting the neck/body join is the area im most concerened with.
Cheers,
Adam
Well there are lots of ways of making this join, what way are you using just now?

nigel

nkforsterguitars.com
 

Steve Blackdog

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Very nice website, Nigel.

I hope you stick around on the forum, as I am sure I could learn a lot from you.

I see your mandolins have truss rods. I have a Fylde mando, and for some reason, in his wisdom, Roger Bucknall does not use a truss rod. The instrument has an increasingly high action, as over the years the string tension has bowed the neck - not a great deal but enough to make you cross (hammer) .

Is there any time you wouldn't opt for a truss rod? My classical guitar does not have one, for obvious reasons, but even with a classical, I can't see why you wouldn't use one.

All the best

Steve
 

Lord Kitchener

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Steve Blackdog":24ceaeao said:
The instrument has an increasingly high action, as over the years the string tension has bowed the neck - not a great deal but enough to make you cross

Have you also checked the front in the area of the bridge? It's quite common on guitars for the tension to distort the face into a sort of S shape, thus lifting the bridge and tipping it forwards, not a lot but enough to affect the action.
 

Kalimna

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Nigel - My current guitar builds include a set-neck electric and a bed-bolt-cumpiano-neck-joint acoustic, both of which were built on a course. I havent worked up the courage to try it out for myself at home yet, though I have acquired much of the material required. My feeling is that the bed-bolt style MT joint is excellent, but requires a finely set jig, which I havent made yet.

Cheers,
Adam
 

Steve Blackdog

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Lord Kitchener":iyepm2yp said:
Steve Blackdog":iyepm2yp said:
The instrument has an increasingly high action, as over the years the string tension has bowed the neck - not a great deal but enough to make you cross

Have you also checked the front in the area of the bridge? It's quite common on guitars for the tension to distort the face into a sort of S shape, thus lifting the bridge and tipping it forwards, not a lot but enough to affect the action.
mmm. I'll go and have a look. I had a nice acoustic guitar that had some bellying, but I hadn't noticed on the mando.

Thanks for the thought.
 

Benchwayze

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nkforster":1fyt2ljc said:
Fair enough - so if any of you have any guitar making questions this would be a good time to ask them - I've been making instruments for 24 years and I've made quite a few. Ask away!

nigel

nkforsterguitars.com
I've been playing guitar for 55 years. Are you as good at repairing them as I am at playing them?
:mrgreen: :mrgreen: :mrgreen: :mrgreen: :lol: :lol:

Hat, Coat >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Doorr!!!!!!!!!!!! :D
 

nkforster

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When it comes to adjustable truss rods in mandolins - I can see much virtue in having one as it gives some control over neck relief. My mandolins have a truss rod. If you do not have one, you don't have any control. I'm not very familiar with Fylde mandolins so it's hard to comment, I'm sure Roger has reasons for not using a truss rod. Sight down the neck and see if it is bowed or if the issue is the soundboard (it often is) Mandolin necks are short and stiff but are also under tremendous pressure from the pull of the strings. Either way there is little you can do.

In general I would avoid any steel string instrument that has no adjustable truss rod. Many older Martin guitars have non adjustable truss rods. This means the neck is reinforced but that's it - you have no control. Many Martin guitars (with either adjustable or non adjustable truss rods) need neck resets during their lives but that is often due more to weak soundboards than bendy necks.

Two way truss rods are now very popular which allow for movement in two directions - to give and remove relief, but again do be wary - they rely on a welded nut for adjustment and they can AND DO snap. When they do, you have a non adjustable truss rod. I use a one way truss rod. When I glue the fretboard on I do so, so that the neck has too much relief built in. Then I tighten the rod to straighten the nek prior to sanding the correct amount of relief in the fretboard and fretting. This means I effectively make a one way truss rod into a two way one, without the weakness found in bought two way truss rods.

Hope this helps a little.

nkforsterguitars.com/the_book.html
 

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