Slaman L5-CN

adOm a écrit:

Finalement, tu aurais pu "conclure" hier ... Il n'est jamais trop tard

Oui, finalement!...
Elle court peut-être moins vite, maintenant.

.............Une tranche de vie ............

et comme on dit il vaut mieux avoir des remords que des regrets

sacré jp tu arrives à faire du HS tout seul en un seul post... Trop For ce Forum

Citation :

une différence de volume qui permet de passer de la rythmique au solo sans toucher au bouton de volume. Quarante ans que j'attends çà!...

Jean pierre ça fait 40 ans que tu passes à côté de la jazzmaster

Yves a écrit:

Citation :

une différence de volume qui permet de passer de la rythmique au solo sans toucher au bouton de volume. Quarante ans que j'attends çà!...

Jean pierre ça fait 40 ans que tu passes à côté de la jazzmaster

m'étonnerait...
Je ne suis pas sur que le mot "rythmique" signifie la même chose pour toi que pour moi.

ola vieux jeune ami... figure toi que je suis AVANT TOUT guitariste rythmique, mais malheureusement faut faire le show... j'apprends les rythmique avec deux notes la tierce et la septième et ça ça vient de ton maître

Sur le site de Slaman -> News -> 2009, quelques pensées pour ses 30 ans de métier:



When a guitar is more than a guitar...........

some thoughts after 30 years of building


Building a guitar is more than selecting wood and using acquired skills, and after many years with the instrument I decided to gather some thoughts that go beyond 'the top is carved spruce and the fingerboard is ebony............' , there's more to it than that. For you and for the Slaman players' enjoyment, here are some thoughts I would like to share with you.on 30 years with the instrument.



Guitar making is about celebrating nature and life itself................

Making a guitar is a celebration of the gifts of nature; woods from all over the world, mother of pearl and abalone shell, mammoth ivory from the majestic extinct Ice Age woolly mammoth, or 50.000 year-old Kauri wood from New Zealand. Sitka Spruce from trees that started growing some 500 years ago when the New World was discovered.....I am thankful for these precious gifts of the earth and try to make responsible use of them. No woods from endangered species are used such as Brazilian rosewood. Up until now I have used Brazilian rosewood for the bridges but when my supply is gone I will start using an alternative wood. I try to minimize waste; for example cut-offs from the cedar or mahogany neck are used to make internal blocks and the kerfed lining. Even scrap wood that I have no use for, goes to carving artists that use it to carve objects, or use it in jewellery etc. for the enjoyment of themselves and others.
Over the last two years I have experimented with water-based lacquer, and can now offer it as an equal alternative to the traditional nitro-cellulose lacquer. The water based lacquer is safe for the user and the environment, whereas the nitro cellulose is toxic and a pollutant. The final choice of lacquer however is up to the customer.

Guitar making is a celebration of energy and health; it's an expression of enthusiasm for the instrument and its music, and the joy and fulfilment involved in employing the physical and mental skills needed to produce the guitars. Every day I am thankful for having the ability to bring these guitars to life.

Guitar making is a celebration of relationships and friendship; the Slaman players have become friends and helpers to bring the guitars to ever higher levels in terms of design and craft. For many years now I have experienced their ongoing support in ideas, thoughts, input and even tools and materials.

Guitar making is an expression of creative freedom; every choice that is made for a particular guitar is made to achieve a unity in design. the result may not be to everybody's taste, that's a different matter, but the unity of design should always shine through in choices of wood, size, decoration and finish colour of the guitar. The result is always a unique one-of-a-kind instrument, made by one mind and set of hands.



The Slaman connection....

The result is that Slaman players connect to their guitar(s) in a unique way. Over the years I have come to understand that to the owner the guitar has a meaning beyond physical aspects; there's always a bond or connection between the player and the guitar. This is not wishful thinking by the maker, there is corroborating evidence; there is no used Slaman guitar market, a player that owns one will not part with his guitar. Furthermore there are many players that own more then one Slaman guitar, 2,3 or even 4, and they are holding on to every one of them.
The guitars transcend the status of mere physical objects; they almost become a part of the family, an irreplaceable item of value both material and immaterial.



It's always our guitar....

People often ask me if it's not a difficult moment for me when a guitar leaves the workshop after spending so much time in creating it. My answer is that no matter how far the guitar is away from me, it's still 'my guitar' and it will always remain so, maybe not in physical presence but more in intellectual parenthood. In fact I enjoy the idea that the instrument has found a good home with an owner that appreciates it and takes good care of it.



Old souls........

Every Slaman guitar has its own history and future, and a unique personality that comes alive at the magical moment when it is strung for the first time and its voice is heard. Many of the Slaman players have commented that they receive an instrument that already feels played in with an articulate voice, indeed not a 'new kid on the block' but with the feeling of meeting an old friend. Some people have even said to me that (during the building process) they are already have a feeling of missing a guitar they don't even have yet..............



About sound and tension.............

Of course in the end it's all about sound and playability, and there are two points that I would like to mention in this regard.
The first is that over the years, several people have commented independently about the same feature of Slaman guitars; the high notes are particularly rounded, warm yet clear, where they are thin and shrill in many other archtop guitars. Before I started making archtops in 1995, I spent almost 20 years in making classical and flamenco guitars. In the classical guitar the difficulty for the builder is in the high notes; much effort and attention goes to designing and trying to achieve well balanced, warm and rounded high notes. Without being aware myself, my customers told me that somehow I must have taken this focus on the high notes to archtop production, as the high notes are well articulated in every Slaman guitar. It took observations from customers to make me see that, thanks !

The second point is string tension; invariably players seem to experience a string tension on a Slaman guitar that's actually one gauge below the actual strings on the guitar. So they say 'it's a 012 set, right? ' while they are actually playing a 013 set, and the same goes for 012 to 011. It seems that a given string, say an A tuned to 440 Hertz, can feel different in string tension from one guitar to another, regardless of scale length. It's a phenomenon also experienced in classical guitars and is not yet understood, there's no actual physical explanation for this. One explanation is that the thickness distribution in the top takes away some of the harshness of the impact of plucking the strings, much like the suspension of a car that takes away sharp impacts of unevenness in the road. Probably it has to do with carving the recurve into the top, anyway, I don't need to understand the scientific reasons for this, just so long as I 'know' how to carve this desirable feature of the guitar into the guitar top.......... The good thing about this of course is that the player can have the feel and better playability of a lighter gauge string and at the same time have the better sound of the higher gauge string that is actually on the guitar.



The future of Slaman Guitars

Slaman guitars have always been the product of one mind, heart and set of hands. Everything is done by me, from choosing the woods to finishing and set-up. Having had offers of sub-contractors, employment vacancies and even outsourcing production, there's only one way to go; it will remain the way it is, a one-man business, but with regard to the thoughts above, with many free lance contributors............



When a note is not just a note..........

Looking at all this, it's not hard to imagine that every note you play on your and my guitar is more then just a note; it is the result of combined effort and love in both making and playing the guitar, contributing to those magical moments in time called music......



May 2009
Daniel Slaman

Une vraie démarche de maître artisan
Peut-être qu'un jour il faudra aussi qu'il se pose la question de la transmission de son savoir faire... en ayant des disciples

Intéressant, le début de réflexion sur la relation entre tension ressentie des cordes et la sculpture de la table...

Jean-Pierre,

cette photo est celle du dos de ta Slaman L5 et je me demandai
si c'est en 2 morceaux ou en un morceau.

C'est que de toutes les archtop que je regardes dernièrement,
leurs dos sont en 2 morceaux tandis que la table est ordinairement en 1 morceau.
Je me demandais si les Slaman sont différentes

Il y a bien longtemps que les tables massives sont en 2 parties aussi.
Apparemment il n'y aurait aucun avantage à le faire en 1 pièce, que du contraire.

Sur le site de Slaman dans FAQ, il explique ceci:

Why is the top
as well as the back, always in two pieces instead of one ?
The first reason
is that it is extremely difficult to find pieces of wood that
are wide enough for a one-piece top or back. The second reason
is that a two-piece top or back is more stable because of the
symmetry in the two halves which a one-piece top or back would
lack. In recent years Daniel has offered three-piece backs that
can have a pleasant look and be very stable at the same time
(see News section on this)

ah je comprends maintenant le pourquoi.
J'avais pas vu ces explications sur son site.

Mais plusieurs tables sont en une seule pièce cependant.
Je prends ma L5 en exemple, et beaucoup d'autres aussi.
Donc, que cela soit en 1 ou 2 parties ne semble pas affecter le son
mais surtout la rigidité et la stabilité de l'instrument.
C'est bon à savoir.

De Vines a écrit:

Mais plusieurs tables sont en une seule pièce cependant.
Je prends ma L5 en exemple, et beaucoup d'autres aussi.

Es tu bien sur que la table de ta L5 est en 1 pièce? C'est parfois pratiquement invisible.
De quand date t'elle?

De Vines, est-tu sûr que la table de ta L5 soit en 1 pièce? comme le rappelle JP, il y a fort longtemps que les tables sont en 2 pièces... ça n'offre d'ailleurs que des avantages, en plus de l'extrême difficulté à trouver des pièces pour faire d'un coup une table: notamment, les contraintes mécaniques horizontales se "compensent"
Bon, ce n'est pas impossible, mais pour moi, toutes les L5 sont en 2 parties.
Si ce n'est pas le cas, je serais trèès intéressé de la savoir...

ah ben je viens d'y penser, peut-être que non.

Elle est de 1997.
Mais là je suis au bureau, je vais vérifier tout ca tantôt.
Cela se peut aussi que le bookmatch soit bien réussi et la division
devient, comme tu dis, impossible à voir.
Mais pour le dos, c'est certain que c'est 2 morceaux, ca se voit.

Peut-être que les luthiers accordent moins d'importance au dos esthétiquement.

edit: en fait vu que c'est de l'épicéa, il n'y a pas de bookmatch,
donc c'est certainement en 2 pièces, sorry...

... Si c'est le cas, pour te rassurer, comme je l'ai indiqué, 2 pièces c'est plus logique, contrairement à une évidence de prime abord: le tout n'est pas de trouver l'arbre qui fournira la pièce, encore faudrait-il qu'elle soit homogène: ce n'est pas gagné! les arbres capables de fournir ça ne se trouvent tout simplement plus!

oui je comprend.
Ce qui m'as mis sur une fausse route, c'est que je ne voit pas la
séparation sur la table, mais c'est du au fait qu'il n'y a pas de flamme,
vu que c'est de l'épicéa.
Pour le dos, vu que c'est de l'érable et que c'est flammé, ben c'est pourquoi
on voit la séparation.

Bon, la prochaine fois, je vais prendre 2 cafés avant de poster

....Y'a pas 3 jours, nous discutions d'une hypothétique guitare capable de faire sonner du manouche et tout le reste............j'viens de chez Slaman............et je tombe sur ça..................


<blockquote>
<blockquote>
A sneak preview of a new Slaman
model (well, of the tailpiece hanging out in the workshop....)
that is expected to be finished end of July / beginning August.
A crossover model for the archtop jazz guitarist wanting to step
out into the manouche style playing but not going as far as to
play a Selmer / Maccaferri style guitar. Lightweight construction,
Western red cedar carved top, spectacular Panama rosewood back
and sides......... can't wait to play this one !
</blockquote>
</blockquote>



Il me tarde de voir à quoi cela va ressembler..............................................................................................................

.....et Igor....et mon J-P, trônant royalement au centre de l'atelier, .....posant pour l'éternité......en même temps, J-P a son modèle signature chez Slaman....du sur-mesure, taillé à la volonté de l'artiste,......

Sur cette superbe photo, on peut observer l'attitude tendue du "jeune qui en veut" qui contraste avec la sérénité du patriarche.
Ah! que c'est beau!...

... "sérénité du patriarche" si il y a bien un truc qui ne te correspond pas, c'est bien ça!!! je dirais plutôt "sale gamin en train de préparer un mauvais coup!"
... sauf ton respect évidemment..... patriarche de mes deux!

igor a écrit:

... .... patriarche de mes deux!

Mais!... Mais!... Igor!

Dis, tu ne devais pas t'attaquer à un Bag's Basse?

vous êtes mignon tout les 2

A propos de Daniel ... vous savez s'il a déjà construit des 7 cordes ???

Un projet fou germe dans mon esprit pervers heureusement que je n'aurais jamais le pognon ... on peut toujours rêver un peu ça fait pas de mal

n'empêche j'ai quand même envoyé un mail à cc pickups pour savoir s'il pensait ça jouable de faire un CC "custom" pour une 7 cordes ... je me disais que Daniel serait probablement capable de faire une bonne guitare autour ... enfin bref un projet façon