Tuesday, August 14, 2018

Bedated uplate

... wait ... strike that, reverse it ... or then again, maybe stet?

Long story short, the extremely low action of a tapping instrument renders it particularly susceptible to any change in the system ... like, f'rinstance, different gauges of strings. Yes, when I changed the strings, the difference in string tension requiree a slight truss rod adjustment (as in, just a 60° turn for both rods). Which reminds me ...

I didn't approach this as a professional research project, so I didn't take notes on where I read what. But somewhere along the way during my online research about Krappy Guitars, I encountered a complaint from someone who said he couldn't adjust the action on his instrument, blaming Kevin's "proprietary" hardware. For all I know, this might be true of that person's instrument, but it's certainly not true of mine. Here are some photos of the bridge:




Yes, the height of each string's saddle is adjustable (with a simple flat-head screwdriver), and each string is fully intonatable (with a hex wrench inserted into the end of the bridge screw that determines the horizontal position of its saddle). Best of all, when I removed the truss rod cavity cover, I discovered that adjusting the truss rods doesn't involve a hex wrench (as I've used on Les Paul copies by Epiphone and ESP), but rather, a crescent wrench (so, it's much easier to apply torque without slipping).



This should be all the functional changes for now, other than experimenting with different ways to damp the strings at the nut. I'm not convinced that simply stuffing felt under them is the best practice (and I see in at least one video that Trey Gunn has augmented the felt by wrapping something around the lowest bass string). And okay, I might need to adjust the intonation on a few of the strings (most likely the low G, which represents the single greatest change in string diameter: from .075 to .065, which is literally an order of magnitude greater than the changes on the other strings, all measured in thousandths of an inch).

On the fingerboard, I applied faux-abalone faux-inlay decals that are 3mm wide, thinking that 5mm strips would be too much. I was wrong, so 5mm decals are on the way. If I feel really ambitious, then I'll re-do the faux-abalone bulldog face on the headstock, but first I would need to figure out the genuinely best way to do it. (For now, my first attempt is adequate, especially when partially obscured by the strings that pass over it.)



So, bottom line ... the Krappy Touchstyle Guitar is not, in fact, a crappy touchstyle guitar. I take it for granted that yes, a Chapman Stick or a Warr Guitar provides a superior instrument, but for three figures instead of four, Kevin has made a thoroughly functional instrument.

Next step: learning to play the thing ...

Wednesday, August 1, 2018

Vertical, or horizontal?

I was alarmed to see that the marvelous touchstyle guitarist Trey Gunn (formerly of King Crimson) has suffered repetitive-stress injuries in his left wrist, such that his default position for playing his Warr Guitar is now horizontal, across his lap, rather than in a traditional guitar position. This leaves me wondering how much I should try to find a comfortable vertical playing position ... that is, maybe I should skip directly to the lap position.

The immediate hardware implication is that I might need to move the strap buttons (or simply add new ones) to facilitate using a Dobro-style guitar strap to secure the instrument while I play. The immediate software implication is that as I work through preparatory exercises in Emmett Chapman's Free Hands and Greg Howard's Stick Book, vol. 1, I will need to revise Every. Single. Left-hand. Fingering.

So, my initial progress might prove very slow indeed as I experiment with both positions, and especially as I try to find the optimal placement along four dimensions to minimize strain on my left wrist, as helpfully spelled out in a post on a Stickist discussion board: 1) how close to one's left shoulder the headstock is held; 2) the rotational angle of the fretboard relative to its long axis; 3) the fretboard's angle from the vertical; and 4) the elevation of the instrument relative to the player's body. Wish me luck!

Minor repairs

As I've gotten to know my instrument, it occurred to me that I ought to post some detailed description and photos, as a way to help people better understand what you get when you buy a Krappy touchstyle guitar. The tl;dr is that it is NOT a crappy guitar! Details follow:

1. The only significant problem I've encountered is that at the 19th fret, the 2nd string "frets out" to the 20th. This is probably a consequence of the guitar's journey from North Carolina to Massachusetts: that is, with the change in humidity, the neck's curvature has altered ever-so-slightly. And I do mean slightly: If I apply more pressure and push the string against the 19th fret more forcefully, then the string clears the 20th fret ... but of course, the whole point of touchstyle playing is not to fret with that much force.

Lest any skeptic cast aspersions on Kevin's lutherie skills, I will emphasize that none of the other strings "fret out" anywhere on the neck ... that is, everything is monkey-dory on all ten strings from the 21st fret right up to the 24th. And the delta-humidity hypothesis is supported by the fact that the guitar arrived ... slightly oily. I infer that before shipping the instrument, Kevin took the trouble to re-oil the wood, and surely wiped away the excess (because, seriously: who would be masochistic enough to pack an oily guitar?!?). Now take that wood with no excess oil on its surface, and ship it in a sealed carton during summer: the air warms, relative humidity drops, and the wood dries, weeping some finishing oil that it had previously absorbed.

Cut to the chase, I will take a fret file to that spot on the 20th fret to bring it back into line. I've encountered this sort of thing previously with mass-produced guitars by Epiphone and ESP, so really, this is no big deal.

By the way, Kevin posted a demo video to YouTube, in which he performs King Crimson's "Heartbeat" on the instrument prior to shipping.

2. Otherwise, the only other touch-up I see in the instrument's immediate future is to pick at the felt that mutes the strings at the nut (as piano technicians do when they re-voice the felt on piano hammers). That is, at present it seems to allow more vibration than is optimal, though I have to admit this may actually mean that I'm just not playing at sufficient amplification.

The journey of a thousand taps ...


... begins with a little trip down the rabbit hole of calculating string gauges. The instrument shipped with a first string of .008 in. diameter, which to my ear sounds sadly underpowered versus all the other strings. So I knew that I would want to go up to an .009 (or perhaps even a .010, eventually), but what about all the other strings?

There are multiple resources on the web to help a person calculate proper string gauges, and I tried several. When D'Addario's String Tension Pro calculator works, it works beautifully; the catch is that it doesn't really tolerate backtracking to tweak one or two pieces of information. If you want to change any detail of what you've previously entered, the site requires you to go back to the beginning and enter everything all over again — and for a 10-string instrument, that's incredibly clunky.

So, I created a spreadsheet comparing string diameters and string tension for various sets of strings, including the set already on the instrument, the set offered by Mobius Megatar for Chapman Stick tuning (with the bass in inverted fifths — that is, ascending in perfect fifths from the middle of the neck out to the near edge), and then played around with calculating the gauges that would achieve varying levels of balanced tension across the neck.

Lucky for me, before I placed any order, I found the Stringjoy site. I'd seen (and immediately bypassed) their ads in my Facebook feed, but when I discovered the generous informational videos posted in their blog, I knew I'd found the right people. I sent them an inquiry describing my needs, and within 24 hours their President, Scott Marquart, replied with his recommendations. I was happy to see that I had calculated correctly for all of the plain steel strings and some of the wound guitar strings, and I was relieved that Scott stopped me from ordering wound bass strings that would be too slack for practical use (that is, the bass strings need to be at a slightly higher tension). Those strings are on their way; I'll report back after trying them, though there is some work I will do while the strings are off (see next post).