58957

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pickerdd	58957	Lead	[-]
(11/24/09 11:27 AM) Reply Quote More My Recent Posts	Tags : None Fretboard Journal #5 seems to always be close by. I bought an extra copy so that I can keep one in my backpack and have it nearby when I'm at work or traveling. I just can't get enough of the article and the excellent photos of Tony's 1935 Martin D-28, serial number 58957. I commend my good friend Art Dudley on writing such a fine article, but as a guitar geek I would like to have seen more detailed measurements of the guitar. One of many stories of this instrument (as mentioned in Art's fine article and others) that has intrigued me is the neck had been replaced. It has been reported that the fretboard has been replaced, but what about the neck and the missing decal? In one of the other articles on TR and his guitar, maybe it was in Bryan Kimsey's most excellent article in Flatpicking Guitar Magazine on Tony Rice, the nut was mentioned to be 1 5/8". Has anyone measured the nut width, fretboard width at the 12th fret, the string spacing at the bridge or the neck thickness at these points? Thanks, David 1939 D-18 1941 00-18H Last Edited By: pickerdd 12/03/09 10:21 AM. Edited 1 time.
steveswan		#1	[-]
(11/24/09 11:39 AM) Reply Quote More My Recent Posts	It's the original neck, but cut down significantly and reprofiled by Milt Owen to get to the 1 5/8" nut width of the Gretsch replacement fingerboard. By the time I was living in the same house as the guitar in 1984-85, Tony Rice had had the barrel of the neck reprofiled a couple of times to very slim dimensions in the area of the first 5 frets. On one occasion Joh Monteleone did it on a repair bench at the old Scott Street location of the Fifth String that I managed for a couple of years. I wish that he'd lose those 5 awful 1950s Waverly tuners and 1 Grover orphan scavenged off of a late 1930s 17 style guitar. They are a nightmare to use to try to get this guitar in tune.
D18RC		#2	[-]
(11/24/09 12:26 PM) Reply Quote More My Recent Posts	Yep, that is a great article. I buy FJ when it's something I want to read, not every month, but usually every other month. I have the TR issue close at hand and have read it quite a few times. BTW, I'm anxiously awaiting the TR bio. With everyone going to 1-3/4" widths nowadays, TR seems to still do OK with his. R. Curry (Rockbridges and a Gallagher)
steveswan		#3	[-]
(11/24/09 12:33 PM) Reply Quote More My Recent Posts	I found the tiny neck profile and extremely low string height to be very difficult for me to play without extreme concentration.
Jason Verlinde		#4	[-]
(11/24/09 12:57 PM) Reply Quote More My Recent Posts	That's one of my favorite articles, too... though I guess they're all sort of like my children and I'm not supposed to play favorites. It was just nice to be able to tell the story of TR through the guitar. Even non bluegrass readers were really excited by that piece. Crosses all boundaries. Mainly, Art is a great writer... in fact, he penned our next cover story on David Grier. Ron, the FJ only comes out four times a year. If you're buying it every other month, that's too much (though I won't complain)! Jason Verlinde The Fretboard Journal
alancline		#5	[-]
(11/24/09 5:35 PM) Reply Quote More My Recent Posts	[quote]our next cover story on David Grier./quote] Alan Cline Eugene, OR "I Pick, therefore, I Grin!"
flatpickin		#6	[-]
(11/24/09 5:41 PM) Reply Quote More My Recent Posts	I need the Grier issue, stat! Jason, when will we see this gem? I'm looking forward to the Rice bio too..
John Thomas		#7	[-]
(11/24/09 6:09 PM) Reply Quote More My Recent Posts	flatpickin wrote: I need the Grier issue, stat! Jason, when will we see this gem? Wait, Jason, I thought that you were calling it the spring issue The Harp Guitar Issue, right? .... John www.johnthomasguitar.com Please visit www.bannergibsons.com to see what Willi and I are doing!
Jason Verlinde		#8	[-]
(11/24/09 7:04 PM) Reply Quote More My Recent Posts	Winter issue w/ Grier's D-18 on the cover mails to subscribers next week, in stores the week after. Or corner me at the Seattle David Grier show on Saturday and I'll give you one. John Thomas' lengthy harp guitar expose--about how harp guitars are corrupting the youth of America and how Adam Lambert is involved and what you can do to stop both --will be in the Spring issue! Jason Jason Verlinde The Fretboard Journal
John Thomas		#9	[-]
(11/24/09 7:08 PM) Reply Quote More My Recent Posts	Jason Verlinde wrote: Winter issue w/ Grier's D-18 on the cover mails to subscribers next week, in stores the week after. Or corner me at the Seattle David Grier show on Saturday and I'll give you one. John Thomas' lengthy harp guitar expose--about how harp guitars are corrupting the youth of America and how Adam Lambert is involved and what you can do to stop both --will be in the Spring issue! Jason OK, now I'm really confused. First, I'm seeking to corrupt the entire world's youth. Neither HGs nor FJs should be bound by political borders. Second, how am I to accomplish my diabolical plot if you folks only run the article once? P.S. Can't wait for the Grier issue! .... John www.johnthomasguitar.com Please visit www.bannergibsons.com to see what Willi and I are doing!
D18RC		#10	[-]
(11/24/09 9:00 PM) Reply Quote More My Recent Posts	Jason Verlinde wrote: the FJ only comes out four times a year. If you're buying it every other month, that's too much (though I won't complain)! Doh!! (as H. Simpson says) ...and now I gotta ante up for the Grier issue, too. Roy Curry
creeksideguy		#11	[-]
(11/24/09 9:25 PM) Reply Quote More My Recent Posts	Jason where is David playing in Seattle? I might make the trip. Lee
markdemaray		#12	[-]
(11/24/09 9:29 PM) Reply Quote More My Recent Posts	Lee David is playing at the Empty Sea Studios in the Phinney Ridge area - just a few blocks north of the Woodland Park Zoo. Very cool old house that holds only 40-50 people - its like a small house concert venue. Go to their web site (www.emptysea.com) and see if tickets are still available. Mark
creeksideguy		#13	[-]
(11/24/09 10:03 PM) Reply Quote More My Recent Posts	Thanks Mark, I`ll check it out Lee
Arnoldgtr		#14	[-]
(11/25/09 3:54 AM) Reply Quote More My Recent Posts	On April 15, 1988, I measured the nut width at 1.665". Tony had had the fretboard widened, so it may very well have been 1 5/8 before that. At the same time, I took the following measurements: Width @ 14th fret = 2.190 Depth @ 1st fret = 0.740 Depth @ 10th fret = 0.890 Nut to 12th fret = 12 21/32 Top resonance = D# Back resonances = F# - A I don't have the bridge spacing written down, but I believe it is fairly close to original (2 5/16). John
Jason Verlinde		#15	[-]
(11/25/09 12:01 PM) Reply Quote More My Recent Posts	Wow... thanks John! Jason Verlinde The Fretboard Journal
pickerdd		#16	[-]
(11/25/09 10:06 PM) Reply Quote More My Recent Posts	Arnoldgtr wrote: On April 15, 1988, I measured the nut width at 1.665". Tony had had the fretboard widened, so it may very well have been 1 5/8 before that. At the same time, I took the following measurements: Width @ 14th fret = 2.190 Depth @ 1st fret = 0.740 Depth @ 10th fret = 0.890 Nut to 12th fret = 12 21/32 Top resonance = D# Back resonances = F# - A I don't have the bridge spacing written down, but I believe it is fairly close to original (2 5/16). Thanks John! I was hoping you'd have info on 58957! David 1939 D-18 1941 00-18H
kcoyner		#17	[-]
(11/25/09 10:50 PM) Reply Quote More My Recent Posts	That's one of my favorite articles, too.. Well there are a lot of great articles in my Fretboard Journals but there has to be a "best" and the #58957 is without a doubt the best to date. I hope you don't mind Jason, but I saved a copy to my computer and sometimes send it out to friends and interested persons. Not for profit though. I really appreciate the in depth text and photos. I found the tiny neck profile and extremely low string height to be very difficult for me to play without extreme concentration. I wonder if it could it be that type of concentration that helps Tony have that great right hand, IMHO the best in the business. k
steveswan		#18	[-]
(11/26/09 2:49 PM) Reply Quote More My Recent Posts	John, That's interesting that Tony had the fingerboard widened. I hadn't heard that before. I measured it with a ruler in 1984 and it was just a shade over 1 5/8" then, not nearly as close to 1 11/16". That slimmed neck profile on Tony's D-28 felt like a pencil compared to that of my 1935 D-18 that I was playing at the time. I think that what is most important is that Tony Rice is so at home and comfortable with the dimensions and setup of this guitar, any musical thought that he has just seems to express itself immediately and effortlessly.
mtndon		#19	[-]
(11/26/09 8:47 PM) Reply Quote More My Recent Posts	In the late eighties I was a stage manager for a big Bluegrass Festival on the west coast. Over the years I worked there I saw Tony quite a bit. I always let the guitar players know that I could change strings and we would talk about what would happen if one went. Well at the start of a song Tony broke one. I went over to the spare case pulled out a guitar ( I think a Santa Cruz) and met Tony and traded guitars. I went back stage to change the string. The first thing I noticed that it was the lightest 'bone I'd ever felt, really battle worn. The bridge pin was so loose in it's hole I don't know how it stayed in. Put the string on, tuned it up to pitch, stretched it a couple of times. The band just started a new tune and I played along. The back of neck (the size/shape) reminded me of a Les Paul Deluxe I had owned. The strings were low like an electric guitar. I didn't check it but it felt like it had no relief. It played very easily and it was the most played in guitar I had ever played. If you dug in to pull out the tone it buzzed and bottomed out. I had to change not only my right but also my left hand technique. I once spent an afternoon with Charles Sawtelle checking out, playing and listening to every acoustic we could get our hands on and this guitar was completely different in it's tone, and how you played it. The soundmen had told me that Tony's guitar was hard to deal with on stage because it was quiet and Tony wanted his monitors loud. I remember more feedback with him than other bands. don
pauld4		#20	[-]
(12/03/09 4:45 PM) Reply Quote More My Recent Posts	I haven't read any recent articles on the history of Rice's guitar but like everyone else, I've admired it for years and played it several times. I am curious if anyone is familiar with the guitars Rice played before the Clarence White guitar. I am aware he played the D-28 (50's?) with the large Martin decal on the upper bout as Rice was pictured with this guitar quite frequently. As I understand it, that guitar developed some issues and Rice acquired a '46 bone to replace it. He was apparently playing the bone when Bobby Slone assisted him to locate the Clarence White guitar. For a brief period, he played both herringbones but quickly decided he preferred the Clarence White guitar. He subsequently sold the '46 and the rest is history. A friend of mine now has the '46 bone. I was curious if anyone else was familiar with this story. Paul

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