The Finished Harp Guitar
(click photo for larger
image)
I then went in search of a Luthier and was introduced to Nathan Sheppard who was at first very sceptical but was eventually persuaded that it could work. At this point he suggested revisions to some to the joints, in particular the method of attaching the neck and headstock to the body. It was agreed that I would supply him with a detailed set of revised drawings and a complete body mould. Nathan was also responsible for the design of the internal bracing (a major exercise for this instrument). It was to be above all, an acoustic instrument and components and construction would be kept as light as possible. I obtained Engelmann spruce for the soundboards from Canada as they were able to supply the very large boards required with fine and even grain spacing across the width in superb quality (and they were also very helpful !).
Nathan and Tony
We decided on an initial batch of four, although
the prototype # 001 would be constructed and
tested before any assembly work took place on the
following three. Each would be different with
regard to the hardwoods used for the back and
sides, with differing laminates for the neck and
bindings.
As Nathan came to consider that I was only partially insane, I was allowed to assist in some of the woodworking procedures and use of his machine tools, (which displayed greater faith than I probably realised).
During the ensuing eighteen months it is fair to say we had a few intense ‘discussions’ and also some bad luck, but we persevered. To build this instrument as a prototype is about as difficult a task as a Luthier could be presented with, even the bridge (which is deliberately a large single moulding) was fiendishly difficult to make the first time.
As the work progressed towards the finale, it was like watching a butterfly emerging from the chrysalis of the body mould and the workshop. Once it was complete it was strung up to test its strength, to hear how it sounded and to feel how it played. To be fair, I had actually done stress calculations and Nathan had used his own and other Luthiers’ advice and experience so that the machine was structurally very secure. The sound however was a revelation, exceeding both of our expectations. The bass is louder and fuller than any normal acoustic bass, the treble harp is loud and clear with a tone reminiscent of a Dulcimer whilst the guitar is loud, sweet and balanced.
As Nathan came to consider that I was only partially insane, I was allowed to assist in some of the woodworking procedures and use of his machine tools, (which displayed greater faith than I probably realised).
During the ensuing eighteen months it is fair to say we had a few intense ‘discussions’ and also some bad luck, but we persevered. To build this instrument as a prototype is about as difficult a task as a Luthier could be presented with, even the bridge (which is deliberately a large single moulding) was fiendishly difficult to make the first time.
As the work progressed towards the finale, it was like watching a butterfly emerging from the chrysalis of the body mould and the workshop. Once it was complete it was strung up to test its strength, to hear how it sounded and to feel how it played. To be fair, I had actually done stress calculations and Nathan had used his own and other Luthiers’ advice and experience so that the machine was structurally very secure. The sound however was a revelation, exceeding both of our expectations. The bass is louder and fuller than any normal acoustic bass, the treble harp is loud and clear with a tone reminiscent of a Dulcimer whilst the guitar is loud, sweet and balanced.
Playing the harp guitar onstage
(click photo for larger
image)
The hardware was then removed and the long
process of filling, lacquering and polishing was
painstakingly undertaken by Nathan and fellow
Luthier Tom Waghorn; who achieved a superb
finish.
After much experimentation and listening tests we settled on ‘Headway snake’ pickups which were fitted in triplicate, one for each bridge. Each pickup has it’s own pre-amp within the jack socket and each is specifically voiced for bass, guitar, and treble harp. These pickups deliver the true original sound of the instrument with amazing fidelity (click here for sound examples).
After much experimentation and listening tests we settled on ‘Headway snake’ pickups which were fitted in triplicate, one for each bridge. Each pickup has it’s own pre-amp within the jack socket and each is specifically voiced for bass, guitar, and treble harp. These pickups deliver the true original sound of the instrument with amazing fidelity (click here for sound examples).
Closeup
(click photo for larger
image)
The basic idea for this Harp Guitar was conceived
in November 2005 whilst sitting in an aircraft in
Cologne, listening to Michael Hedges playing a
Dyer harp guitar on my MP3 player. After making
initial sketches and approximations, there
followed 3 months of revisions, detail sketches,
an MDF ergonomic test model and eventually a
complete set of full size engineering drawings
covering two 1200 x 900mm pages plus some
additional detail drawings.
Tony Producing Designs