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  • About | Wyn Guitars
    with a spoke shave and of course the most important thing he introduced me to red sparkle paint in a spray can To a 12 year old that red sparkle paint was worth the price of admission So I made a 12 string guitar with a tear drop body shape that was guaranteed to slide off your lap and tip over if you didn t put it on the guitar stand just right I hand sawed the fret kerfs and pounded in the frets I drilled holes and glued in abalone markers Shockingly I used Brazilian rosewood for my fret board Makes me a little sick that I was using Brazilian rosewood as a 12 year old novice luthier but that was a common fret board wood at the time Yikes I put an oil finish on the neck and painted the body a nice creme color Tom helped me wire up the pots and pickups and without giving it a thought I strung it up with heavy gauge Gibson strings I tried a bar chord and couldn t push all 12 strings down Tom took me aside and sort of explained the concept of light gauge strings to me I restrung and it actually played pretty well It was the best magic trick ever To do all that woodworking and end up with a nice looking piece of sculpture that s a playing musical instrument I was hooked Over the next 5 or 6 years I made something like 30 guitars I gave them to friends I sold the better ones a couple of them went right to the trash when I got a little too daring in the designs and they just didn t work But through a lot of trial and error I learned the craft and they kept getting better I don t know why but it never struck me that I could make a living making guitars I continued playing and building as a passionate hobby but as for a real career I studied art and architecture eventually graduated as a fine artist from the California Institute of the Arts I was hired by the Walt Disney Company in their Feature Animation unit No complaints there a great place and a fantastic job I animated on Roger Rabbit The Little Mermaid Beauty and the Beast and The Lion King I coordinated then supervised and eventually became a Producer producing the features The Emperor s New Groove and Chicken Little But after almost 20 years at Disney one day I woke up and said that s enough it s time for a change Through hard work and some very good fortune I was able to take my passion of guitar making off the back burner and again put it front and center Within a year of leaving Disney in addition to writing and recording music I found myself building up my wood shop buying quilted maple cocobolo ebony and wenge It was time I called my

    Original URL path: http://www.wynguitars.com/about/ (2016-04-27)
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  • News | Wyn Guitars
    letters into the headstock cap and sand it flush before laminating it onto the headstock Clamping of the headstock cap onto the headstock Is there anyone who doubts my commitment to keeping the clamping industry going Guess what More clamping Here I have just inlaid the edge markers into the edge of the fretboard Hard to tell since it s a Wenge fretboard on a Wenge neck but there s a fretboard there This happens to be the Luminlay markers that glow in the dark When they re in the light they just look like white inlays On a dark stage they glow a greenish white light that s rather amazing For anyone that hasn t ordered a bass as yet it s an up charge of 25 00 for the Luminlay markers my cost for the material If you want regular white markers there s no up charge for that Here is the fretless fretboard with the white lines inlaid into the fretboard The neck ready to laminate to the wings I not only use glue here that has 3500 pounds per square inch of strength but I use these super strong disk biscuits that go into the neck and into the wings as well It makes the joint extremely strong and helps with alignment when I glue the wings to the neck You re just not going to have to worry about playing a big gig in front of millions and having the body wings fall off the neck It s just not gonna happen Ready to glue the wings to the neck in my patented clamping jig okay it s not really patented but I made it I shape the wings before gluing them to the neck It makes it much easier to shape each wing when I m not contending with the full size and shape of the guitar 8 String from the back Body wings shaped neck still a block Laser cut initial letters and fretboard ready for inlaying You gotta know I was sweating getting that curly cued J into the board without breaking it but it went fine What was I worried about I inlay the letters when the fretboard is still flat Later after the board is laminated to the neck I will radius sand the board and of course the letters will be sanded to match the radius at the time In this photo I m gluing the full top onto the body When I do a full top the top goes on after the wings have been laminated to the neck And here is the top fastened to the bass body I have as you see also cut a modern f hole to see if we can coax some acoustic tone from this chambered bass Here is the coolest machine I own It s a reproduction of a machine designed for Leo Fender back in the day to radius the fretboards The aluminum part is a free swinging arm I can set pivot points to achieve a compound radius Basically the front pivot point near the head stock is at a 12 distance The back one is 18 So you swing the neck back and forth as you gradually lower the fretboard into the long sanding belt As you rock the fretboard back and forth it sands a perfect 12 to 18 compound radius on the fretboard that is absolutely perfect and straight When I first started I did this step by hand It took me two hours per fretboard and I didn t do it all that well It now takes 5 minutes and it s perfect every time And being perfect makes the fretting go better the set up go better and your playability and lower action will all be better All bow down to Leo Fender Quite a mechanical genius that guy Here s a shot of the initials and the fretboard with its radius Here s what a roughed out 8 string neck looks like Gluing the neck to the wings Have to do this step on every one of them On a full top I have to shape the top after it s laminated to the wings and neck It all gets done just a different order to things The quilt on this wood has no finish on it yet You re seeing it dry It s going to really pop when the finish is applied I live for moments like that I shape the transition of the neck to the body after it s all glued together This bass will be pretty effortless to reach to the 24th fret Published by Randy on March 11th 2014 at 9 44 pm Filed under News 1 Comment The Class of 2013 A Peek at Twenty Seven Basses in Progress For whatever reason I have arrived at a group of twenty seven basses that I m currently working on I think I started out with twelve and I just kept adding as the orders came in According to my calculations just a couple shy of a nervous breakdown I somehow stopped adding at twenty seven This first photo shows how the bass components have taken over my work bench Seriously I m working on a couple of sawhorses wondering how my work bench turned into a giant storage unit Below there are twenty seven mug shots At this point the necks are put together as a laminated block The body wings the same It s the first time I can set the major component pieces together and we can all see it s going to be a bass guitar one day the tops haven t been sanded and there s no finish on them Just dry wood but you can already see how incredible the grain will be once they have a final finish I have listed the guitar top wood with each photo Amboyna Burl Amboyna Burl Single Cut Book Matched Claro Walnut Burl Bubinga Claro

    Original URL path: http://www.wynguitars.com/news/ (2016-04-27)
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  • Gallery | Wyn Guitars
    Burl with Bloodwood Center Stripe 5 String Buckeye Burl 5 string Lefty Ziricote Fretless 5 String Bubinga and Wenge Carved Top 5 String AAAAA Quilt Maple 6 String Ziricote Heart and Sap Full Top 6 String Exhibition Grade Buckeye Burl Single Cut 5 String AAAAA Amboyna Burl Fretless 6 String Cocobolo Heart and Sap 6 String Full Top Heart and Sap Ziricote 5 String Page 1 of 7 1 2

    Original URL path: http://www.wynguitars.com/category/gallery/ (2016-04-27)
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  • Wood | Wyn Guitars
    with a rippled flame figure Warm full fundamental with more upper mids than highs Lacewood interesting dual density wood reddish brown framework is very hard and bright while the lighter colored lace spots are softer giving a full warm sound from this medium to light weight wood Maples hard varieties have bright highs strong upper mids and tightly focused lows Bird s Eye rare and attractive wood covered with tiny starter knots that look like tiny eyes Burl usually from base of tree beautiful densely packed roots multicolored multidirectional grain patterns Flamed AAA and AAAAA grade strong ripple curl or striping patterns of light and dark Quilted maple undulating grain patterns three dimensional cloud pattern look Spalted when a tree is just starting to turn from fungus minerals in the tree are pushed to grain borders producing interesting black outlines with graphic color variations in the wood Must be harvested at just the right time or wood can become punk best with hard shell clear coat finish Padouk bright orange red wood oxidizes to a warm red brown Bright even sound Redwood figured burl and straight even grained tonally warm rich and mellow Clairo Walnut AAA and AAAAA grade intense and beautiful grain patterns darker sound Wenge beautiful chocolate with black grain very porous Tonally it has attitude a pleasing complex warm growl Neck Woods Typically the necks I make are of seven piece laminations for strength and stability Wood choices are also a critical tone and design element in the overall composition Bubinga Strong and stiff wood Bright midrange and a thick focused bottom Eastern Hard Maple Accentuates high and high midrange tones traditional neck material hard and strong Padouk Red orange to orange brown Very stable with similar tone properties to hard maple Wenge Strong porous chocolate and

    Original URL path: http://www.wynguitars.com/wood/ (2016-04-27)
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  • Players | Wyn Guitars
    When Trevor approached me to build a bass guitar as the house bass for his state of the art recording studio in California I was honored We collaborated on a book matched Claro Walnut five string with Macassar Ebony fretboard for the task click image to enlarge Erik Griggs Erik Bluetooth Griggs is a multi instrumental music producer writer with many credits including the Dreamgirls soundtrack and music for various main stream acts such as Tyrese Omarion and Charlie Wilson Erik is also the largest contributor to the international hit record No Air with Jordin Sparks and Chris Brown for which he was Grammy nominated All of this has occurred within his first 5 years on the LA music scene He s known for his live instrumentation If you hear a live bass on his track and you often will you can be sure it s his Wyn Erik on Facebook Erik on Twitter click image to enlarge Al Criado Al Criado is currently working on a project for Globo TV from Brazil playing with saxophonist Devin Phillips from New Orleans Dave Valentin Latin groups Havana Rumba Caliente and Cana Son his own group Clave 2 3 and saxophonist Dave Valdez He s also producing a project for bassist and fellow Wyn great Ben Jones and preparing for another with drummer Gary Hobbs Also lots of bass overdubs from his studio for Bard Studios Mayuto Correa and others Another working musician that clearly gets no sleep He s pictured holding his figured Wyn Clairo Walnut 5 string fretless with taper core Wenge and Padouk neck and a Macassar Ebony finger board Check out Al s FaceBook page click image to enlarge Tim Baker Tim Baker a great San Francisco Bay area player with his flame topped Koa 5 string He is the current bassist in both the Miles Schon Band and BillionsUponUs Check out Tim on FaceBook and on MySpace click image to enlarge Jon Laws Twenty three year old Jon Laws hails from Toronto Canada Born into a talented musical family Jon has played the role of Music Director in his church since the ripe old age of 15 These roots as well as playing with numerous Gospel greats have helped Jon to form a solid musical foundation focused on keyboards and bass Jon is the current bassist for the wildly popular Drake Jon on Twitter click image to enlarge Adam Johnson aka TAJ Adam Johnson aka TAJ is playing a Wenge topped 5 string with a figured Cocobolo fretboard A custom Wyn 6 string is in his future Adam has toured with Jill Scott and served as Stephanie Mills musical director Currently you can see him on the road with Donnie McClurkin and hear his Wyn bass on Jonathan Nelson s latest CD releasing in summer 2010 Check out the TAJ Music web site click image to enlarge Terance Key Terance Bamps Key was groomed in the Quartet Gospel scene of NYC He is currently playing bass with

    Original URL path: http://www.wynguitars.com/category/players/ (2016-04-27)
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  • Pricing | Wyn Guitars
    string 8mm spacing 1 7 8 6 string 9mm spacing 2 1 16 7 string 7mm spacing 1 15 16 7 string 8mm spacing 2 3 16 7 string 9mm spacing 2 3 8 Bridge spacing width center of high string to center of low string 4 string 19mm spacing 3 5 string 16mm spacing 2 1 2 width 100 00 Kahler bridge and milling required 5 string 17mm spacing 2 11 16 width 5 string 18mm spacing 2 7 8 width 5 string 19mm spacing 3 width 6 string 16mm spacing 3 3 16 width 100 00 Kahler bridge and milling required 6 string 17mm spacing 3 3 8 width 6 string 18mm spacing 3 9 16 width 6 string 19mm spacing 3 3 4 width 7 string 16mm spacing 3 13 16 width 100 00 Kahler bridge and milling required 7 string 17mm spacing 4 1 16 width 7 string 18mm spacing 4 1 4 width 7 string 19mm spacing 4 1 2 width Fretboard wood Figured Maple 100 Bird s Eye Maple 150 Figured Bubinga 100 00 Figured Heart and Sap Bubinga 200 00 Cocobolo Cocobolo Highly Figured 100 00 Highly Figured Cocobolo Heart Sap 200 00 AAAAA Indian Rosewood AAAAA Macassar ebony 100 00 Padauk Pau Ferro 50 Wenge Fretboard markers Abalone Dot Marker 150 00 Mother of Pearl Dot Marker 150 00 Custom inlay Names words and graphics are priced individually based on complexity and number of frets covered additional deposit required Fretboard wood change at 12th fret 125 00 Back of headstock lamination to match front 100 Lamination over neck back 75 00 Lamination over neck front 75 00 The Body Top Wood Choices Bubinga AAA Bubinga AAAAA 200 00 Buckeye Burl ask for availability and price at time of order Cocobolo 100 Cocobolo heart sap combination 250 00 Koa AAA 200 Koa AAAAA 400 00 Lacewood Bird s Eye Maple 100 00 AAAAA Burl Maple 250 00 Flamed Maple AAA Flamed Maple AAAAA 225 00 Quilted Maple AAA Quilted Maple AAAAA 250 00 Spalted Maple 250 00 Padouk Redwood AAAAA Redwood 200 00 AAAAA Redwood Burl 300 00 Claro Walnut Claro Walnut AAAAA 250 00 Claro Walnut Burl 350 00 Wenge AAAAA Figured Wenge 200 Figured Myrtlewood 200 00 AAAAA Myrtlewood Burl 350 00 Ziricote 200 00 Heart and Sap Ziricote ask for availability and price Tone Layer Wenge Bubinga Padauk Claro Walnut Body Core Alder Spanish Cedar Swamp Ash African Mahogany Sapele Back Tone Layer Wenge Bubinga Padauk Claro Walnut Back Wood Match top wood contrast top wood Body Layer count 1 or 2 layers included 3 layers 100 00 3 layers Top core and matching back 200 00 4 layers 275 00 5 layers 325 00 Full top option Neck through body portion is completely covered by top 200 00 Chambering 200 00 Weight Issues The goal for all bass guitars is a reasonable medium weight Special issues can be addressed upon request Extra body carve Tone layer reveal and or

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  • FAQ | Wyn Guitars
    exactly what various wood combinations will sound like What about the pickups and electronics Many choices out there how did you settle on what you re using As the starting point I look for a high quality durable design with an ability to reproduce sounds in an uncolored straight and true way After that criteria is met an ability to dial in a wide range of usable sounds Science experiments have variables and controls I favor an approach of settling in on a small number of electronic sets as my control and then varying the wood combinations to define the sound I m currently very happy with Nordstrand pickups with Aguilar preamps and Bartolini pickups with Bartolini preamps What about the tuners the bridge the strings and the strap locks I use Hipshot tuners for great design and quality I use Hipshot s A style bridges for the ultimate in sound spacing and string height adjustability I can obtain solid brass if preferred but since weight is always a factor I have gone to aluminum bridges with solid brass saddles I find I get the best of both worlds from these bridges great sound at roughly half the weight I use Dunlop Dual Design strap locks because they re bullet proof and strong and safe whether using the lock or just the strap hooks Each bass comes with Dean Markley SR2000 medium light strings I find them to be incredible for playability and expression Do you prefer to work on one guitar at a time or many guitars at a time and why I decided a long time ago that I would not send things over seas and that I would attempt do every phase myself To make that work I obviously have to be as efficient as possible I will do operations on multiple guitars at one time when it s the smart thing to do As an example it might take a half an hour of set up time to cut the fret slots in a fingerboard Once I am precisely set up I can do five or ten fingerboards in the time that it took me to get ready to do one The same is true for template operations like routing for pickups and electronic cavities cutting neck channels for truss rods and for soldering electronics So I do several operations that way for greater efficiency but for the most part I focus on each guitar one at a time What is your philosophy about hand tools vs wood working machines I try to use the best tool for the job I constantly go back and forth between machines and hand tools I try to be as efficient as possible but I will not design shapes based on what will be the easiest to machine I design based on ergonomics and aesthetics and then I figure out how to best achieve those shapes If it was only about efficiency many hand tools probably wouldn t exist today

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  • Contact | Wyn Guitars
    Wyn Guitars Please use the form below to contact us We will get back to you shortly Your Name required Your Email required Subject Your Message Please type the following into the field below Home About News Music Gallery Wood

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