Tylers , a couple in for work.

[Ed DeGenaro]

I can easily reshape it if needed.

And you know what if you were EU you’d likely have me already as a customer.

As for the Tyler subject, I like and even the Chinese one has that going that when I lay my mitts on them it feels like I played them forever and not a new guitar I have break in.

Of all the stuff I had my main guitars I play for decades, and once I beat them this long into submission (and this was learned by experience) loaning it out for one gig and getting it back makes em feel weird. I know it’s likely in my head. But I’ll roll with it.

 

[sleewell]

that first one looks AMAZING. im sure the 2nd one is too its just not my vibe

 

[State of Epicicity]

Not necessarily just light but within a tight tolerance ( or weight range in this case probably with similar cut and grain patterns ) so the resonance is predictable and not problematic with the neck.

This is the big mystery to me in lutherie. How does one work to ensure that resonance between a neck and body is harmonic? I'm curious if you were to pick pieces to build, what would you look for and what would you avoid?

I don't understand how I've never read about dead spots in a Tyler, Anderson, or Vigier (R.I.P. the company), but I've read of several Suhr. And forgetting about dead spots, just liveliness overall. Can you just knock on a slab of wood and go by that for resonance?

 

[Eagle]

This is the big mystery to me in lutherie. How does one work to ensure that resonance between a neck and body is harmonic? I'm curious if you were to pick pieces to build, what would you look for and what would you avoid?

I don't understand how I've never read about dead spots in a Tyler, Anderson, or Vigier (R.I.P. the company), but I've read of several Suhr. And forgetting about dead spots, just liveliness overall. Can you just knock on a slab of wood and go by that for resonance?

Suhr is slightly too big for John to have his hands on everything. It takes a pretty experienced builder with the right overview to do this. In truth it used to be the preserve of acoustic or top classical luthiers. Violin makers. It’s only our generation that started to quantify it.

 

[TSJMajesty]

This is the big mystery to me in lutherie. How does one work to ensure that resonance between a neck and body is harmonic? I'm curious if you were to pick pieces to build, what would you look for and what would you avoid?

I don't understand how I've never read about dead spots in a Tyler, Anderson, or Vigier (R.I.P. the company), but I've read of several Suhr. And forgetting about dead spots, just liveliness overall. Can you just knock on a slab of wood and go by that for resonance?

I am by no means an expert, but I do understand resonances to some degree. Go shake a tree (a small enough one), and it will shake at the rate IT wants to, not how fast YOU want to shake it. And touch a guitar string at multiple places that are not harmonic nodes, and it will stop vibrating.

So wouldn't simply attaching things to a guitar (tuners, pots, switches, bridge, etc.) also have the same potential effect of messing with the natural resonance of that guitar, and do so in ways that are completely unpredictable?

As an aside, Stanley makes a hammer called the Antivibe. Hammers can transmit detrimental frequencies through the handle into your arm, and somehow Stanley figured out how to add a dampening device (think- reverse tuning fork) into the handle that absorbs those frequencies, making it less impactful to your body.

A guitar is much more complex, so it makes me wonder how a builder could construct one in such a way that there wouldn't be any chance of certain frequencies ending up as 'dead notes.'

 

[State of Epicicity]

I always think about this in the context of assembling a partscaster or commissioning a custom guitar. If I wanted to do everything I could to ensure the best resonance and to avoid dead spots at the same time, I wonder what approaches would get me there, as opposed to rolling the dice.

 

[Ed DeGenaro]

I always think about this in the context of assembling a partscaster or commissioning a custom guitar. If I wanted to do everything I could to ensure the best resonance and to avoid dead spots at the same time, I wonder what approaches would get me there, as opposed to rolling the dice.

I’d guess a hollow/chambered body is a good start.

 

[Eagle]

I’d guess a hollow/chambered body is a good start.

Actually no , chambered bodies are far more likely to have dead and over loud notes ime.

 

[Eagle]

I always think about this in the context of assembling a partscaster or commissioning a custom guitar. If I wanted to do everything I could to ensure the best resonance and to avoid dead spots at the same time, I wonder what approaches would get me there, as opposed to rolling the dice.

Maple is very consistent and predictable. The variables are in the body . Once you find ones you like you aim for the same grain and weight . Over time you get to know the range of what works.

 

[TSJMajesty]

Maple is very consistent and predictable. The variables are in the body . Once you find ones you like you aim for the same grain and weight . Over time you get to know the range of what works.

What about my question regarding attaching the parts to the body? Wouldn't the resonances change with each additional part added to the guitar?

 

[Frankencat]

These look great. Are these the new import version? I saw Ed D’s and that one looked cool.

 

[Eagle]

What about my question regarding attaching the parts to the body? Wouldn't the resonances change with each additional part added to the guitar?

Yes but it’s a range you’re looking for not a precise thing. If you start out with a particular size body blank before cnc you will be able to reverse engineer it and future similar weight blanks will end up similar weight. It’s the same thing on a guitar. I know what weight a body will be pretty close by knowing the overall weight of the finished guitar. Remember only a very limited range of hardware is used on Tyler . The other thing is grain. You just avoid anomalies and a particular cut and it stays predictable enough. The other consideration is that guitars sound better when they are played.

 

[Ed DeGenaro]

These look great. Are these the new import version? I saw Ed D’s and that one looked cool.

Both of the ones in the OP seem to be US models.
The import says JTG in big between the smaller multiple James Tyler…

Also with the normal logo the US version said Los Angeles, CA or Los Angeles Custom Shop on the logo.
The Japanese aren’t.

L-r… Japan, China, US

 

[FuzzyAce]

My estimate would be, to get that end 15% quality of workmanship takes 50% more time. Not necessarily with guitars, but with woodworking in homes..., cabinets/custom built-ins and such. What do you think @FuzzyAce ?

Can't disagree. Custom work always takes longer. I just got back from an out of town job late last night. Besides the custom cabinetry work, there's always the unexpected (or expected) on-site tweaks and modifications when dealing with less than perfect floors and walls (or clients). That eats up a lot of time and cost.

 

[FuzzyAce]

Both of the ones in the OP seem to be US models.
The import says JTG in big between the smaller multiple James Tyler…

Also with the normal logo the US version said Los Angeles, CA or Los Angeles Custom Shop on the logo.
The Japanese aren’t.

View attachment 41543
View attachment 41544
L-r… Japan, China, US

What other gear you using in the clip?

 

[Ed DeGenaro]

What other gear you using in the clip?

Fryette GPDI-IR, delay and verb are plugins.

 

[FuzzyAce]

Fryette GPDI-IR, delay and verb are plugins.

Nice, it's a cool tone -- and dig the vibrato too.

 

[paisleywookiee]

The American Tylers are definitely far into unobtainium levels for me, but they are cool as hell. That limba one is nuts, in particular. IIIFFF I had a ridiculous amount of dough for a superstrat, I'd probably still go Anderson though. I absolutely adore my pal's HSS TA Classic. It's definitely a diffierent vibe though.