News 2007
Occasional news about new instruments and anything else that may be of interest.
12th December 2007
Martin Simpson on UK TV - Friday 15th December
Martin Simpson can be seen this coming Friday on 'Later with Jools Holland'. He will be singing 'Duncan and Brady' and playing his Mk 1 Sobell Martin Simpson Signature model.
And after the program has gone out, he can be seen on the 'Later' website singing 'Never any good'.
10th November 2007
Soundboard repair
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Brian Miller from Edinburgh had a hotel chair collapse under him while playing in an Edinburgh hotel. The Model 1 he bought new in 1987 suffered soundboard and purfling damage. The repair was complicated by the dark colour of the soundboard; any mismatch in levels when joining the cracks would show up as a sudden colour change.
The repair went well, so not only is there no colour change, but also the cracks themselves (on either side of the lower bout, a couple of inches in) are not visible from more than a foot or so. Here is Brian with the repaired guitar.
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New World guitar and Hayseed Dixie

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The Madagascan rosewood necked New World model (news item 1 Oct 07) worked out really well and John Wheeler (of Hayseed Dixie) has taken delivery. It’s fitted with a Highlander under saddle pickup; John plans to use it on live gigs as well as for recording. ‘It really rings’ he said as soon as he picked it up.
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1 October 2007
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Minor Injury
All these months after injuring my hand (news item 5 June), it is now almost back to normal. While I’ve been able to work at a reduced pace, the one procedure I’ve not been able to manage is carving arch-top soundboards. This means I’ve been concentrating on flat-top guitars and have built no mandolin family instruments or arch-top guitars. My apologies to those kept waiting as a result.
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Cleaning up lining on a Scantling MS model. Lack of hair due to 20 years fitting under-saddle pickups
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Checking the fit of soundboard to body on MS Signature guitar
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Different woods
As well as the Brazilian rosewood neck fitted to a recent MS Signature model, I’ve built two New World guitars with European spruce sound boards. They made an interesting comparison with the Adirondack topped NWs I’ve built before, having a more subtle sound but not quite the same punch. Both good, but clearly different.
The Brazilian rosewood necked MS has a remarkable sound, with a bright treble and a smooth bass. I like it a lot.
As a follow up, I’m building a New World model with a Madagascan rosewood neck and a Carpathian spruce soundboard.
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Madagascan rosewood is stiffer than mahogany and has much of the ring of Brazilian rosewood. Carpathian spruce is an Eastern European red spruce, related to Adirondack (North American red spruce). The Carpathian has an unfashionably wide grain but is stiff and light and has a deep, musical tap-tone.
I aim to combine the bright smooth sound of the rosewood neck with the punch and warmth of red spruce. I’m hoping for great results, but the proof of the pudding is of course in the eating. And the eating will have to wait a few weeks until the guitar comes out of the spray booth.
I’ve been talking to John Wheeler of Hayseed Dixie about this guitar, and I’m building it with him in mind.
30 September 2007
Audition
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Rens auditioning new accompanist
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Thinking about it
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25 June 2007
New Jig
After many years I have finally built my jig for preparing soundboards and backs for joining. It consists of a metal straight-edge, a shelf for a router to run along, and a simple system for locating the wood to be straight-edged.
The photos show how holding the router guide against the straight-edge and moving it along its shelf straightens the side of the wood clamped in position. The two halves of the soundboard are clamped down together and machined in one pass; smaller pieces (as used for scantling or four piece backs) must be straightened individually and are held by a low clamps fastened into the board. They are low enough that the router base can pass over them.
The router cutter used is a large diameter straight sided cutter.
This replaces my previous system of passing the timber over a jointer – not always easy to control with such thin wood.
Brazilian rosewood neck
At the moment I’m stringing up two octave mandolins and a Martin Simpson model guitar. This guitar is unusual in that it has a dark old Brazilian rosewood neck, built from the same stock as the Brazilian used on scantling guitars. Below is the neck both before and after carving.
Minor Injury
While playing tennis a few weeks ago I fell and hurt my hand. While not a serious injury, it kept me off work for a week or two and is still hampering me. I can only apologise to those of you waiting for instruments.
25 March 2007
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Tailpieces
The tailpiece hold-up is over at last. Here are the first to arrive, two each of mandolin (still to have pins fitted), cittern (also octave mandolin and bouzouki) and guitar.
The guitar tailpieces are made up of the anchor plate (attached to the tail of the guitar) and the string plate hooking onto the anchor plate.
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Spring weather
This was the view from my office window at around 7am
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The same view a few minutes later
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4 March 2007
Bill Flatman
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Bill Flatman built my mandolin and cittern cases in the late 1970s and early 1980s. He died unexpectedly on 3rd March. He was just sixty-five years old.
Bill was a farmer who lived and grew up on a hill farm close to Whitley Chapel. When I was looking for fibre-glass cittern and mandolin cases to replace my primitive wooden ones, Bill volunteered and made them in his small garden shed. He had no previous knowledge of fibre-glass but went round the canoe building classes in the North East of England, learning how to lay up fibre-glass and where to find the required components. He rewarded his informants with heather honey combs from his own bee hives. He was an ingenious and enterprising man.
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Bill Flatman in 1999
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Bill’s cases were dark blue and angular with softened corners, based on the wooden cases they replaced. They were well liked and very distinctive; complete strangers carrying these cases stopped in the street and talked to one another.
Bill was a thoughtful man, generous and kind and posessing a strong sense of justice. It didn’t matter if you hadn’t met up with him for a couple of months, you always knew he was completely dependable, the sort of man who would do everything he could to help you if you were in any kind of fix.
He was a special friend, and I will miss him greatly.
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The Fretboard Journal
Many people already know of the Fretboard Journal. For those who don’t, it’s a beautifully produced quarterly publication of serious in-depth articles on all subjects concerning fretted instruments.

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Last summer Brad Warren visited and stayed a few days, talking, asking questions and taking photographs. The picture at the head of my ‘Wood and Materials’ webpage is one of his photographs.
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The current issue of the Fretboard Journal includes the article he wrote about me and my instruments. Brad is a good interviewer; his conversation and questions made me think really hard about what I feel and believe is important to instrument building. Brad is also a good writer, his article presents my views well. The article includes an interview he did with Martin Simpson, concentrating on Martin’s use of my guitars and how he views them.
18 February 2007
Guitar body sizes compared
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Usually I build two instruments together; this allows me to move from one to the other, working on each instrument while the other is glueing up.
However last week, having bent the sides for a Simpson model and a New World model, I carried on and bent sides for a Parlour guitar simply because I was enjoying bending. Because the three guitars are different sizes, there is no competion for moulds.
Here are all three sets of sides joined at the heel and at the tail. You can see the relative sizes of these guitars; the MS (top) is the same length as the NW but wider, while the Parlour guitar (bottom) is both shorter and narrower than the NW.
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Cittern cases
At last I have cases available to fit large bodied citterns and bouzoukis. These are plywood cases with strap pockets, a two piece rucksack type strap and a rather garish yellow interior. They are basic but relatively inexpensive.
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I hope to have Calton cases available for this size instrument in the future, but in the meantime I’m happy to offer these as pictured. The alternative option of using guitar cases lined out to accept citterns and bouzoukis is bulky and expensive.
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9 February 2007
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On the shelf: MS D guitar, Model 1 soundboard and body, two cittern bodies, arch-top guitar.
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Cittern tailpieces
In my news item of 1st October I asked for help finding a source for brass tailpieces. I had half a dozen responses all making useful suggestions; I’m grateful for these.
I am now expecting to receive samples in the next couple of weeks, and hope to fit them to completed instruments straight away.
My apologies to all those who are waiting so long for their mandolin family instruments; not only have I had no tailpieces available, I’ve also not found a source of cases suitable for mandolins and large bodied citterns. This problem isn’t yet resolved, but a solution may be on the horizon.
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Completed bouzoukis awaiting tailpieces
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Cutaway arch-top guitar and Second MS D guitar
I have just built a 6 string arch-top guitar along with a second Martin Simpson Signature D guitar.
The MS D uses the back (shown in my news item of 15 December 2006) on which I replaced the red/gold/green trim with the MS red/white and ebony. Here it is after final sanding.
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The arch-top is built with the very colourful Brazilian similar to that used on some New World model guitars.
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Cutaway body bound and awaiting neck
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Neck joined, awaiting fingerboard
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Fingerboard glueing
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Fingerboard glued, awaiting cambering and fretting
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When the citterns currently under construction are finished, I will be building a New World model and a Martin Simpson Signature model.
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Finally, even though it’s early February, last weekend was sunny and spring-like (though the week following we had frost and snow). Here are a friend and his son walking into the sunset. We’re far enough north here that sunset is shortly after sunrise at this time of year; the picture was taken at 3 pm.
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Walking by Devilswater
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