James Lister - luthier

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James Lister
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Re: James Lister - Blog

Post by James Lister » Thu Aug 25, 2016 1:53 pm

Just a quick post to let folks know that I now have a blog on my new website. I'll be using the blog to let anyone interested know about events I'll be exhibiting at, new guitars coming up for sale (and second hand ones), and other general stuff related (mostly) to guitar making. Latest entry was to report the article about my guitar making in the current issue of Classical Guitar Magazine. If you have a WordPress account, you can "Follow" me to receive blog updates by email.

Here's the link: http://jameslisterguitars.co.uk/blog/
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James Lister, luthier, Sheffield UK

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James Lister
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Re: James Lister - luthier

Post by James Lister » Sat Dec 10, 2016 12:18 pm

A few months ago I started a thread about 3-piece backs (viewtopic.php?f=11&t=108164), and promised to post some more photos of the Bird's-eye maple guitar I had just finished. Took a while to get round to it, but here they are.
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James
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James Lister, luthier, Sheffield UK

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tom0311
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Re: James Lister - luthier

Post by tom0311 » Sat Dec 10, 2016 12:24 pm

What's the neck wood James? And how on earth do you shape the headstock so perfectly. I've never managed to get one looking anywhere near as good as that. Gorgeous work.
“There are two means of refuge from the misery of life - music and cats.”

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James Lister
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Re: James Lister - luthier

Post by James Lister » Sat Dec 10, 2016 12:29 pm

Thanks Tom. Neck wood is maple - first time I've used it on a classical, but would definitely be happy to use it again.

Practice and a very sharp chisel! Finished with a fine abrasive sanding stick, but the "corners" have to be finished with the chisel, or they won't be sharp.

James
James Lister, luthier, Sheffield UK

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tom0311
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Re: James Lister - luthier

Post by tom0311 » Sat Dec 10, 2016 12:35 pm

How easy is it to work compared to mahogany/cedrela? I'm only on my second Torres style headstock and it's going better than the first, but still not in the same league as that. Takes a long time too. What grade paper do you use on the stick? Looks amazing.
“There are two means of refuge from the misery of life - music and cats.”

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James Lister
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Re: James Lister - luthier

Post by James Lister » Sat Dec 10, 2016 12:39 pm

A fair bit harder to work than cedar certainly, but it cuts more cleanly than either cedar or mahogany. Depending how close I get with the chisel, I might start with 240 grit, and then finish with 400. If you keep going with the 400 grit until it's quite worn (doesn't take long with a small sanding stick), then you get a good enough finish without needing finer grades.

James
James Lister, luthier, Sheffield UK

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James Lister
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Re: James Lister - luthier

Post by James Lister » Sat Dec 10, 2016 12:41 pm

....The sanding stick is slightly narrower than the head thickness, which reduces the risk of rounding, and is tapered to a point so that you can get most of the way into the corners - but as I said you still need to finish them with the chisel.

James
James Lister, luthier, Sheffield UK

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Re: James Lister - luthier

Post by Monteverde » Sat Dec 10, 2016 2:54 pm

A very beautiful guitar, James.

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James Lister
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Re: James Lister - luthier

Post by James Lister » Mon Dec 12, 2016 10:09 pm

Monteverde wrote:A very beautiful guitar, James.
:merci:

James
James Lister, luthier, Sheffield UK

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Jacek A. Rochacki
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Re: James Lister - luthier

Post by Jacek A. Rochacki » Mon Dec 12, 2016 10:35 pm

The guitar is very beautiful and please, let me ask a question: does this element, being part of the bridge and marked with the leaf is made as it is because of the aesthetic reasons, or there are some acoustic/intonation reasons for creating it as we see it ?
James Lister bridge.png
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Antonio Picado, model 60, 2015, Cedar/IRW. Scale 640 mm.
Kenny Hill, model Madrid, 2002, No. 2019, Cedar/IRW. Scale 650 mm.

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James Lister
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Re: James Lister - luthier

Post by James Lister » Mon Dec 12, 2016 11:22 pm

Jacek A. Rochacki wrote:The guitar is very beautiful and please, let me ask a question: does this element, being part of the bridge and marked with the leaf is made as it is because of the aesthetic reasons, or there are some acoustic/intonation reasons for creating it as we see it ?
James Lister bridge.png
Thanks Jacek. The leaf is purely aesthetic. :)

Actually, the first time I used the leaf motif on a bridge tie block, I used 6 or 7 leaves arranged as on the rosette, but didn't really like it, so I replaced it with the single leaf, carefully positioned between 2 strings.

James
James Lister, luthier, Sheffield UK

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Jacek A. Rochacki
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Re: James Lister - luthier

Post by Jacek A. Rochacki » Tue Dec 13, 2016 12:53 am

Thank you, James, for your kind answer. I know that my question could sound, say, weird, but I am trying to learn as much as possible on different aspects of construction, materials, and their influence on the sound of this magnificent "tool" for making music that is classical guitar. I know about compensation of saddle and sometime of nut by carving/"regulation"/adjustment of the physical shape in certain places, and I thought, that, perhaps, the kind of compensation may be achieved by making the bridge or it's part not as homogenous piece but of different materials with different density, softness, etc. And here - I thought - we have an example, and the certain part was marked to distinguish it from other places within the bridge.

The idea is not new, we know about nuts made of ebony glued with bone; I will experiment with such nut on one of my guitars in my search for "soft"/"thick"/warm/ tone.
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Antonio Picado, model 60, 2015, Cedar/IRW. Scale 640 mm.
Kenny Hill, model Madrid, 2002, No. 2019, Cedar/IRW. Scale 650 mm.

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James Lister
Moderator & Luthier
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Posts: 6999
Joined: Fri Nov 17, 2006 3:53 pm
Location: Sheffield, UK

Re: James Lister - luthier

Post by James Lister » Tue Jun 13, 2017 8:46 am

I haven't posted in this thread for quite a while, so thought I'd say a bit about what I'm up to at the moment.

It's a busy year for exhibitions for me, having already taken guitars to Craig Ogden's Guitar Weekend in Manchester and the Cordefactum Festival in Belgium. Next up is the Royal Greenwich Festival in London (25th-27th June), then it's off to Scotland for Matthew McAllister's Classical guitar Retreat (7th-9th July), and then the West Dean Guitar Festival Open Day on 20th August. I'll also be at the EGTA conference in York on 27th July.

As ever, I'm busy with both building commissions and repair/refinishing work. I'm currently working on another Bird's-eye maple guitar for a returning customer in the UK and also have a couple of small repair jobs in the workshop.

In April I had the pleasure of seeing Marcin Dylla play my 100th guitar in concert at the Cordefactum Guitar Festival in Belgium. Marcin had the guitar on loan for 15 months, but the guitar is now back in my hands, and after a little work on the fret ends (turns out bog oak is as prone to shrinkage as ebony), I'll soon be putting the guitar up for sale.

I'll be exhibiting 3 guitars at Greenwich, CGR and West Dean - guitar #100, and the other two are a tropical/non-tropical repair made for the Cordefactum Festival/Leonardo project, one with Indian rosewood back and sides, and the other walnut. A few photos of these guitar below...

James

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James Lister, luthier, Sheffield UK

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