Steinberger: Difference between revisions
From Allan Holdsworth Information Center
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‘I’m really over the moon with these '''Steinberger''' guitars. The necks are specially made for me. They’re made with no relief, ‘cause I’ve never believed in that. I don’t believe in that theory at all. It doesn’t make sense. I know why they did it on old acoustic guitars with a big action, just because the string where it vibrates the most in the middle is more likely to buzz. But it causes problems all over the guitar. The best way to me is to take two straight lines; so the neck’s made with no relief, and it’s got a 20in radius, so it’s really flat, and Jim Dunlop 6000 frets, so they’re really high. There’s something about the guitar when the neck’s got an underbow in it, it feels soggy in the middle.’ | ‘I’m really over the moon with these '''Steinberger''' guitars. The necks are specially made for me. They’re made with no relief, ‘cause I’ve never believed in that. I don’t believe in that theory at all. It doesn’t make sense. I know why they did it on old acoustic guitars with a big action, just because the string where it vibrates the most in the middle is more likely to buzz. But it causes problems all over the guitar. The best way to me is to take two straight lines; so the neck’s made with no relief, and it’s got a 20in radius, so it’s really flat, and Jim Dunlop 6000 frets, so they’re really high. There’s something about the guitar when the neck’s got an underbow in it, it feels soggy in the middle.’ | ||
==[[Unrewarded Geniuses (Guitar Player 1993, | ==[[Unrewarded Geniuses (Guitar Player 1993, reader's letter regarding 1993 article)]]== | ||
It was great to see the photos and mention of my work in the recent Allan Holdsworth article (Feb.’93), but some clarifications are in order. The guitar on page 65 is actually a '''Steinberger''' with a spruce wood top I made as an experiment. After noticing how different in sound two apparently identical stock plastic tops were, we decided to try a few different woods for the top. Allan’s regular 25½" scale DeLap hollowbody can be seen in the ads for his new instruction and performance video from REH. The two baritone guitars pictured on page 68 are a blonde 38.2" scale hollowbody and grey 36" scale solidbody. The last few years have produced a dozen prototype instruments ranging from a 19"-scale soprano guitar to the 38" baritone, all of them headless designs featuring '''Steinberger''' tremolo bridges. Allan knows the qualities he wants to hear and feel in an instrument, so it can be demanding but rewarding to work with him. He is a constant experimenter, a true innovator with music and the tools he uses to create it. | It was great to see the photos and mention of my work in the recent Allan Holdsworth article (Feb.’93), but some clarifications are in order. The guitar on page 65 is actually a '''Steinberger''' with a spruce wood top I made as an experiment. After noticing how different in sound two apparently identical stock plastic tops were, we decided to try a few different woods for the top. Allan’s regular 25½" scale DeLap hollowbody can be seen in the ads for his new instruction and performance video from REH. The two baritone guitars pictured on page 68 are a blonde 38.2" scale hollowbody and grey 36" scale solidbody. The last few years have produced a dozen prototype instruments ranging from a 19"-scale soprano guitar to the 38" baritone, all of them headless designs featuring '''Steinberger''' tremolo bridges. Allan knows the qualities he wants to hear and feel in an instrument, so it can be demanding but rewarding to work with him. He is a constant experimenter, a true innovator with music and the tools he uses to create it. | ||
