Rick Toone | Luthier

Trapezoidal Neck Profile

EDITOR'S NOTE: Content relocated to www.trapezoidneckprofile.com

More Headstock Thoughts

Goran dropped me an email to share an alternate perspective on headstocks.

"regarding the ergonomics of the tuning process - my opinion is that reverse headstocks are more hand-friendly. visual connection is jeopardized but one gets used to the tuners location after a while. few years ago i had jackson guitar with reversed headstock and after a a while i really enjoyed tuning that guitar."

Interesting thought.

Perhaps on a subconscious level, it is consistency I seem to prefer. I've owned and built many instruments over the years with mixed tuners (top and bottom of headstock) — and I always adapt — yet they remain an irritant. Perhaps bottom-mounted tuners would scratch my itch?

"i think tuners should not be located too close to each other - that makes tuning more awkward. starfish has perfect distance between tuners. also the shape of the tuners (and weight!) is important - they have to be ergonomic. the shape of those sperzels on starfish is also perfect."

I do like Sperzels, although the (mounting) threads strip easily. Use caution. I will agree Starfish is/was my favorite guitar to tune.

"...also i must say that i liked more the first headstock for orchid that you are building. the new headstock looks also very good but the first one is more minimalistic, unique and cool."

I chewed on that one for a while, but ultimately decided on top mounted tuners for Halie specifically because she is a relative beginner and visual contact will aid precise tuning. On a darkened stage, I want her to be able to see and confidently predict tuning results.

We'll save more complex tuning for the pros...

Orchid Grows A Headstock

Headstocks are underappreciated.

They provide a platform to hold the tuning keys, and as such determine:

1. The ergonomics of the tuning process — player's reach and visual connection: comfortable or awkward? The first photo below is a 5-string Fender Jazz bass, viewed from the player's position. Easy to see and reach the top four tuners. The bottom tuner is hidden. Annoying. Plus you have to remember which direction to turn the bottom tuner.

2. Tuning stability of the instrument — precise tuners are a pleasure to use, and stable. Strings that pull in straight line across the nut from bridge to tuner intonate better and are more stable. Designs that force strings to splay place bi-directional force on the string slots, creating potential sticking points as the strings change direction. Bad.

3. Tone of the instrument — rubbery or solid? Along with neck flex, headstock flex affects tone.

4. Strength of the instrument — neck to headstock joints are vulnerable. More on this topic soon.

5. Balance of the instrument — heavy headstocks pull the neck to the floor, forcing you to support the neck as you play...and headless instruments often bounce around as you play because the counterweight of the headstock is missing: neither situation is desirable. More on this topic soon.

6. Visual signature — The shape of the headstock is dictated by the above (surprisingly constrictive) mechanical parameters PLUS a little mojo: builders often use headstock shape as a visual signature. And aggressively protect their shape. Copy a Fender, then stare at the second hand on your watch as you wait for their lawyers to contact you. See the composite photo below to guess where Leo Fender got his design inspiration (hint: instrument on right is a cello).

Orchid's minimalist headstock (paper template below) is a blend of the elements I like best. You'll notice it deviates from the original scale drawing. I reserve the right to change my mind.

As needed.

ORCHID SERIES:

Orchid Design
Orchid (Explained)
Stacked Laminate Neck Construction
Orchid Body
Orchid Neck Construction (Trapezoidal)
Trapezoidal Neck Profile
Skipping Ahead
Purple
Orchid Assembly

FIRE | The Creative Process

Things have calmed somewhat since the wildfires subsided. It feels good to be back to my usual haunts.

Miss me?

I thought it might be fun to jump back in with a look at the creative process. Picking up on the last post with another look at the song. In chronological order, covering a four year span of time:

FIRE Demo MP3 — Instrumental version I recorded to recruit band members for live performance.

Guitars | Bass | Drums | Recording : Toone

FIRE Studio MP3 — Studio version with full band. Two years later.

Voice : Harrington
Bass : Monster
Guitars | Drums | Lyrics | Recording : Toone

FIRE Live (with WARCLUB) MP3 — As performed by Foul Rift.

Voice : Harrington
Bass : Monster
Drums : X
Guitars | Lyrics | Recording : Toone

Listening now to these recordings, I find I really like the demo version as it best captures the emotion I wanted to express with the song: the feeling of rage and needing to create metaphorical space in relationships.

The live version is a decent adaptation of studio work for a performance environment. Monster & X bring effective energy to the rhythm. Harrington is on. My guitar playing is passable, considering I was healing from a broken left wrist. I'd play the song differently and possibly better today.

Harrington will soon be a father, joining both Goran and my brother Rob in the "daddy club" this prolific year. Foul Rift is done and gone, scattered by the winds as all things are. I miss the synergy and camaraderie of performing live music. I sing the song differently now. Less words. More space and feeling. More blues, with a hint of flamenco.

Like this...

FIRE

when there is no water
the wind has changed direction
you must seek an open space
set a fire of your own

burn all the ground you can
in whatever time remains
as fire cancels fire
scorch a safe zone for your own

when there is no water

when the forest fire nears
lie dead still in the ashes
fight against the urge to run
prepare yourself for pain

if the space you have burned
provides enough protection
the fire wall will leap you
don’t breathe in the scorching air

when there is no water

when the fire’s beyond you
keep low and move to safety
remain within burned sections
breathe through cloth to filter smoke

if you’re injured conserve strength
stay visible for rescue
rest—lie still—and wait for us
we will be searching for you