I'm a proud owner of one of Rosie's TGs. It's an extraordinary instrument. Dollar for dollar (pound for pound?) Rosie's instruments are one of the best values in fine luthiery today - worldwide.
Hi You are the second, young, female, UK. luthier, who's utubes I've come across. As an elderly, Kiwi, very part time, hobby luthier. Who spent several decades teaching, in workshops at a secondary school. I find this wonderful. I also collect wood. I've got many squared off logs, of all kinds of locally grown wood, some NZ native. Stored away. I like experimenting with any and everything, about musical instrument construction.. This utube is an inspiration. All power, to you. Thanks very much.
Beautiful interview. Nice seeing luthier's open minded on tone woods and materials. Myths on Yew. The Yew in Britain is a huge part of our history. The skill of archery was basically enforced on parishes in Britain. Many towns will have streets called "Bow Butts." This was where the towns people would learn archery (in an opening.) So it was very important tp grow Yew, as to make bows, the best wood is in the trunk, not the branches. Trees and the yew in particular symbolised nature's power of renewal, the cycle of seasons, birth and death and new birth. As time passed the yew remained a symbol of eternity in Christianity. They were worshipped as well as feared. Britain’s ancient yews are among the oldest living things on the planet. The yew is fascinating, because, as they age, they can also go hollow (rot) in the middle. But the yew is able to regenerate itself, producing new roots from its centre. Normally a tree would die. These roots stabilise it and enabling the tree to keep living. Hence, the yew was revered as a symbol of long life, rebirth and regeneration.
I love the approach to letting nature speak for itself and the Dragon Guitar is absolutely gorgeous. Yesterday, I watched a documentary about how guitars are being built. Can't remember the name of the luthier, but when he finished he said something like: "Well, that is it and now we put it a nice safe place so it have a rest and get used to being a guitar, because right now it still thinks it's still a tree". Made me laugh, but I loved that idea of trees being allowed to sing and since I look at my book shelves, desk and table in a different way.
@@MichaelWatts One of these will be my first guitar: th-cam.com/users/livegZwYFDpLe5k I only started music, ukulele, since the lockdowns and I'm 58 now. It's nowhere near even vaguely touching what you are playing, but I'm looking forward to it. My best friend's father was a professional musician, he played flute for Orchestra of Opera of the Rhine in Duesseldorf and he always said that music is the language of the universe. Both mathematical and physically structured and even planets sound and ring music. I never knew what he meant until I started with a ukulele from the Big A retailer (don't do it, they hurt :-) ) and then loved making sounds so much, that I got myself a better instrument and now want to advance to guitar.
I really enjoyed that. The idea of something so natural being so beautiful - that really spoke to me. I see a lot of luthiers using native woods and it's very interesting and exciting. I hope to get to meet Rosie at a Soundboard gathering sometime - Halifax is a little closer than China!
I've followed Rosie's guitars over the last three or four years through the Acoustic Soundboard weekends. It's been fascinating watching her style and sound grow. In Birmingham earlier this year I played a small bodied Cypress and Cherry guitar which really had everything you'd want from a small bodied guitar. It will be fascinating to see what she does over the next couple of years. Good to see you focusing on UK/European luthiers, quite a few of whom are up there with the very best, Keep up the good work.
Wonderful insight into Rosie's work. Absolutely love the idea of the multiscale following into the rosette aesthetically! Genius. Can't wait to see the finished guitar.
Michael Watts ah no mine’s not the multi scale one, it’s conventional layout - you showed the lacewood back on the video. Rosie’s done some amazing decoration with my ragtime/Art Deco/black and white theme.
I own the multi scale in question (Rosie’s first). Unfortunately I snapped it up before she had a chance to document it (other than in photos) and I don’t currently have the means of adequately showcasing it (unless Mr Watts pops in for tea next time he’s passing through the midlands - open invitation). I can tell you it is a positively magical instrument with Rosie’s signature sound qualities (I have a couple of her instruments including THAT Cocobolo TS). Punch throughout, balance, overtones and sustain for aeons but in addition the multiscale especially has a very piano like quality in the low end, with an unbelievable sense of presence and scale. All this and the Sitka top has yet to fully open up. I’m a Rosewood guy and while I enjoy the punch of Sapele had always found it to be mid focussed and lacking in the low end. In this case, the Multiscale compensates perfectly, adding the low end (though differently) and preserving the punch. The inlays are inpired, well executed and make the “fan” super dramatic, the Sapele has a deep multidimensional waterfall shimmer, the hardwood bracing is beautiful and (to my ear/mind) functional. Everything about it blows me away every time I see or play it.
I am a 78 year old retired guitar maker, I have made guitars, off and on for 59 years. I was not trained as a guitar maker but rather as a sculptor, and as such I had to figure out how to make guitars by myself and as a result the guitars I have made have been different to say the least. With their grain on the top of the guitar going from side to side and not in the direction of the strings. My reasoning for this was that the top being thin and therefore not strong enough to take the strain of the strings, then why not have the struts take the strain of the strings by travelling in the direction of the strings and have the front spread the vibrations to the sides of the guitar, in this way the guitar has the strength of the stuts directly travelling down the guitar from either side of the neck to the lower bout under the bridge, in an H pattern, this has worked just fine over the years and has produced guitars that have lasted for 50 + years without warping, if you have found this of interest then you can see and hear three of my guitars played by Charlie Watts of Frayed knott playing a variety of songs if you google it you will see him playing the guitars that he has bought of mine over the years and you can read what he has to say about them in the comments section. If you would like I can show you some of my methods that I have worked out over the 59 years that I have been making guitars inbetween teaching children as a C.D.T. and Art teacher at secondary schools in the London area. However if you find this interesting then you can always pay me a visit and I will show you my garage that I have made guitars in for the last 40+ years having moved twice since first starting making guitars, and see some of my methods and hear some of my ideas on how to make them since. I have got parkinsons disease and therefore can't make guitars these days since parkinsons and a sircular saw aren't really compatible. I have some unfinished guitars that I would like to see completed since they are a even more radical in concept having the grain radiating from the bridge in 30 triangular pieces of red cedar and if it interests you as a project then I will quite gladly let you have it as a project that you can keep as payment for your time simply coming to visit me in Bromley, at no.32a Cloisters avenue, Bromley, kent. BR28AW if I could find a way of including pictures of the unfinished guitars then I will, however as yet I don't think that this is possible. Hoping to see you I the not too distant future from Barry Ducret.
Great videos. I love the concept. Nice to dive into the headspace of these superb builders, if only for just a few minutes. As a player who owns a few hand made Guitar‘s myself, I am always intrigued by the person behind the instrument. I truly believe that all the best instruments are made by Great people.
I love that Rosie stands tall on her idea of little to no arm bevel as opposed to one for the "players comfort"... the arm bevel is a nice idea, but, in my opinion, not really a needed addition to an already close-to-perfect design in a guitar body. A great episode Michael, and Rosie.
I couldn't quite make out who she attributed the arm rest to but as far as I know - William (Grit) Laskin of Toronto, Canada was the first to do this sort of arm rest on an acoustic guitar, back in the 80's. Since then many people have been doing it. I really like the look of the minimal one that Rosie did - excellent job on it - looks great.
She’s great isn’t she and the guitars are wonderful. That’s the back of mine that you saw in progress, London Plane (Lacewood). Biggest issue is what to choose?
Fascinating interview Michael, thanks for that. Beautiful, beautiful woods and guitars on display, Rosie certainly knows her stuff and her aesthetic sense is wonderful - that Dragon guitar - visually stunning! I expect these sound wonderful too, would have liked to hear you strum a chord or two, or even a light brush of fingers against open strings ..
The fret markers are similiar to the Yamaha FG9. A Japanese type thing. Michael, why aren't you playing these instruments in each video....even for a minute or two....I wanted to hear the Yue top.
Hello Hugh, I don't, in fact I don't I don't make guitars at all. Rosie however will doubtless be able to help you. You can get in touch with her through her website
I'm a proud owner of one of Rosie's TGs. It's an extraordinary instrument. Dollar for dollar (pound for pound?) Rosie's instruments are one of the best values in fine luthiery today - worldwide.
Bruce Kahn congratulations! Rosie is very special
Hi You are the second, young, female, UK. luthier, who's utubes I've come across. As an elderly, Kiwi, very part time, hobby luthier. Who spent several decades teaching, in workshops at a secondary school. I find this wonderful. I also collect wood. I've got many squared off logs, of all kinds of locally grown wood, some NZ native. Stored away. I like experimenting with any and everything, about musical instrument construction.. This utube is an inspiration. All power, to you. Thanks very much.
I am definitely getting one masterpiece created by Rosie as soon as I have saved enough for it... truly the world's finest. Thanks to both of you...
Thank you Bishwadeep! I hope your wish will come true soon!
Beautiful interview. Nice seeing luthier's open minded on tone woods and materials. Myths on Yew. The Yew in Britain is a huge part of our history. The skill of archery was basically enforced on parishes in Britain. Many towns will have streets called "Bow Butts." This was where the towns people would learn archery (in an opening.) So it was very important tp grow Yew, as to make bows, the best wood is in the trunk, not the branches.
Trees and the yew in particular symbolised nature's power of renewal, the cycle of seasons, birth and death and new birth. As time passed the yew remained a symbol of eternity in Christianity. They were worshipped as well as feared. Britain’s ancient yews are among the oldest living things on the planet.
The yew is fascinating, because, as they age, they can also go hollow (rot) in the middle. But the yew is able to regenerate itself, producing new roots from its centre. Normally a tree would die. These roots stabilise it and enabling the tree to keep living. Hence, the yew was revered as a symbol of long life, rebirth and regeneration.
Great to have that time to approach a luthier's views! Thanks to both of you !
fransgreg thanks for watching, glad you enjoyed it!
I love the approach to letting nature speak for itself and the Dragon Guitar is absolutely gorgeous. Yesterday, I watched a documentary about how guitars are being built. Can't remember the name of the luthier, but when he finished he said something like: "Well, that is it and now we put it a nice safe place so it have a rest and get used to being a guitar, because right now it still thinks it's still a tree". Made me laugh, but I loved that idea of trees being allowed to sing and since I look at my book shelves, desk and table in a different way.
That’s a wonderful expression and a common sentiment when describing a new guitar - thank you very much for watching, I’m glad you found my channel
@@MichaelWatts One of these will be my first guitar: th-cam.com/users/livegZwYFDpLe5k I only started music, ukulele, since the lockdowns and I'm 58 now. It's nowhere near even vaguely touching what you are playing, but I'm looking forward to it. My best friend's father was a professional musician, he played flute for Orchestra of Opera of the Rhine in Duesseldorf and he always said that music is the language of the universe. Both mathematical and physically structured and even planets sound and ring music. I never knew what he meant until I started with a ukulele from the Big A retailer (don't do it, they hurt :-) ) and then loved making sounds so much, that I got myself a better instrument and now want to advance to guitar.
Super! Rosie will be starting an English grown timber guitar for me in the coming weeks, which is very exciting.
That IS very exciting! Congratulations!
Love these Luthier Stories series!! Each is packed with gems!
Thanks Dougie! I look forward to sharing more with you in the not too distant future...
I really enjoyed that. The idea of something so natural being so beautiful - that really spoke to me. I see a lot of luthiers using native woods and it's very interesting and exciting. I hope to get to meet Rosie at a Soundboard gathering sometime - Halifax is a little closer than China!
Cams Campbell much closer! I hope you’ll get the chance to check out a Turnstone guitar at some point.
Thank you very much Michael. Rosie’s work is new to me, very inspirational.
I've followed Rosie's guitars over the last three or four years through the Acoustic Soundboard weekends. It's been fascinating watching her style and sound grow. In Birmingham earlier this year I played a small bodied Cypress and Cherry guitar which really had everything you'd want from a small bodied guitar. It will be fascinating to see what she does over the next couple of years.
Good to see you focusing on UK/European luthiers, quite a few of whom are up there with the very best,
Keep up the good work.
Andy Howell thanks Andy! Yes, Rosie’s making some lovely guitars and it’s going to be very interesting to see what she comes up with in the future!
Wow really interesting. I have just started building and am on guitar no.2, I was thinking along simply lines of all English timbers. Thanks guys…
Thanks for watching!
Wonderful insight into Rosie's work. Absolutely love the idea of the multiscale following into the rosette aesthetically! Genius. Can't wait to see the finished guitar.
SdeBurca hello there! Yes it’s an exciting build, I look forward to seeing where Rosie goes with it
Michael Watts ah no mine’s not the multi scale one, it’s conventional layout - you showed the lacewood back on the video. Rosie’s done some amazing decoration with my ragtime/Art Deco/black and white theme.
Beautiful!
I own the multi scale in question (Rosie’s first). Unfortunately I snapped it up before she had a chance to document it (other than in photos) and I don’t currently have the means of adequately showcasing it (unless Mr Watts pops in for tea next time he’s passing through the midlands - open invitation). I can tell you it is a positively magical instrument with Rosie’s signature sound qualities (I have a couple of her instruments including THAT Cocobolo TS). Punch throughout, balance, overtones and sustain for aeons but in addition the multiscale especially has a very piano like quality in the low end, with an unbelievable sense of presence and scale. All this and the Sitka top has yet to fully open up. I’m a Rosewood guy and while I enjoy the punch of Sapele had always found it to be mid focussed and lacking in the low end. In this case, the Multiscale compensates perfectly, adding the low end (though differently) and preserving the punch. The inlays are inpired, well executed and make the “fan” super dramatic, the Sapele has a deep multidimensional waterfall shimmer, the hardwood bracing is beautiful and (to my ear/mind) functional. Everything about it blows me away every time I see or play it.
I am a 78 year old retired guitar maker, I have made guitars, off and on for 59 years. I was not trained as a guitar maker but rather as a sculptor, and as such I had to figure out how to make guitars by myself and as a result the guitars I have made have been different to say the least. With their grain on the top of the guitar going from side to side and not in the direction of the strings. My reasoning for this was that the top being thin and therefore not strong enough to take the strain of the strings, then why not have the struts take the strain of the strings by travelling in the direction of the strings and have the front spread the vibrations to the sides of the guitar, in this way the guitar has the strength of the stuts directly travelling down the guitar from either side of the neck to the lower bout under the bridge, in an H pattern, this has worked just fine over the years and has produced guitars that have lasted for 50 + years without warping, if you have found this of interest then you can see and hear three of my guitars played by Charlie Watts of Frayed knott playing a variety of songs if you google it you will see him playing the guitars that he has bought of mine over the years and you can read what he has to say about them in the comments section. If you would like I can show you some of my methods that I have worked out over the 59 years that I have been making guitars inbetween teaching children as a C.D.T. and Art teacher at secondary schools in the London area. However if you find this interesting then you can always pay me a visit and I will show you my garage that I have made guitars in for the last 40+ years having moved twice since first starting making guitars, and see some of my methods and hear some of my ideas on how to make them since. I have got parkinsons disease and therefore can't make guitars these days since parkinsons and a sircular saw aren't really compatible. I have some unfinished guitars that I would like to see completed since they are a even more radical in concept having the grain radiating from the bridge in 30 triangular pieces of red cedar and if it interests you as a project then I will quite gladly let you have it as a project that you can keep as payment for your time simply coming to visit me in Bromley, at no.32a Cloisters avenue, Bromley, kent. BR28AW if I could find a way of including pictures of the unfinished guitars then I will, however as yet I don't think that this is possible. Hoping to see you I the not too distant future from Barry Ducret.
Thanks for getting in touch Barry - some interesting approaches there
Michael, thank you so much for the luthier stories, they are all so wonderful. And I very much enjoy your music. You are a gem.
Thank you for watching! I look forward to sharing more with you in the future!
Great videos. I love the concept. Nice to dive into the headspace of these superb builders, if only for just a few minutes. As a player who owns a few hand made Guitar‘s myself, I am always intrigued by the person behind the instrument. I truly believe that all the best instruments are made by Great people.
Lucas Haneman I couldn’t agree more! The personality of a hand made guitar definitely reflects the character of its creator!
I love that Rosie stands tall on her idea of little to no arm bevel as opposed to one for the "players comfort"... the arm bevel is a nice idea, but, in my opinion, not really a needed addition to an already close-to-perfect design in a guitar body. A great episode Michael, and Rosie.
Thanks Scotty! Glad you enjoyed it!
I couldn't quite make out who she attributed the arm rest to but as far as I know - William (Grit) Laskin of Toronto, Canada was the first to do this sort of arm rest on an acoustic guitar, back in the 80's. Since then many people have been doing it. I really like the look of the minimal one that Rosie did - excellent job on it - looks great.
I really want one of her TG models to enjoy in my retirement, I think her work is wonderful.
Tim Lilly Go for it! And tell Rosie I sent you!
Different woods for the parts of the bracing too. Thats interesting and quite ingenious.
PegLegGreg it is isn’t it? Just another facet of Rosie’s forward-thinking approach. Thanks for watching!
Love the subtle arm bevel!
Martin Martin it’s a lovely touch isn’t it?
Really loving all these videos your're making nowadays, Michael. Please make more lengthy ones like this with every Luthier you can over there!
fngrstyl thank you for your support! Ask and you shall receive, there’s more where that came from!
Hey, really great interview, I really enjoyed watching it. keep up the good work
Thanks Chris! I'm really glad you enjoyed the video, Rosie's approach is really fascinating
Michael Watts Yes i really like the idea of using native woods. Whens the next video?... Ralph Bown??
Chrisjwhit I’ll let you know! I’d love to have a chat with Ralph
Michael Watts another really great bloke to go and see is Jonny Kinkead in Bristol.
I was about to suggest this too!
She’s great isn’t she and the guitars are wonderful. That’s the back of mine that you saw in progress, London Plane (Lacewood). Biggest issue is what to choose?
singlereed you’re a lucky man! I love lacewood and your guitar is in good hands, congratulations!
Would have loved to hear the Dragon.
Fascinating interview Michael, thanks for that. Beautiful, beautiful woods and guitars on display, Rosie certainly knows her stuff and her aesthetic sense is wonderful - that Dragon guitar - visually stunning! I expect these sound wonderful too, would have liked to hear you strum a chord or two, or even a light brush of fingers against open strings ..
DrustIV Thanks for watching! There are demo videos of both instruments on my channel now!
The fret markers are similiar to the Yamaha FG9. A Japanese type thing. Michael, why aren't you playing these instruments in each video....even for a minute or two....I wanted to hear the Yue top.
There are separate videos on my channel where each guitar is featured
Cows in Churchyards and livestock in walnut orchards - not apocryphal. All true.
Ausome craftmanahip.
Do you make classical guitars?
Hello Hugh, I don't, in fact I don't I don't make guitars at all. Rosie however will doubtless be able to help you. You can get in touch with her through her website
So interesting! But I'm so disappointed not to hear these instruments!
There are about 15 Turnstone videos on my channel Michael and I’m filming a new one this week so you have lots to enjoy!
@@MichaelWatts O.K.! Thanks!
Some sound samples would have been nice. But quality work nonetheless
stellingbanjodude there’s a whole playlist on my channel including guitars we talked about in that interview. I hope you enjoy them!
Michael Watts Thanks for the info, I’ll be sure to check it out. I’m a small luthier myself and I enjoy watching your videos to gain more knowledge
stellingbanjodude you’re very welcome! I look forward to hearing one of your guitars some day!
Michael Watts if you’re on Facebook you can 😊 Clayton Guitarworks.
stellingbanjodude I deleted Facebook years ago and have never been happier! Someday I hope it will happen.