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Author Topic:  Sierra Steel Guitars
Russ Tkac


Post  Posted 3 Dec 2018 4:42 am    
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Just Gene's 800. I think Gene pretended he was Sneaky too.

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Ross Shafer


From:
Petaluma, California
Post  Posted 6 Dec 2018 7:50 am    
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Just put another U12 on the assembly bench. This one is for demo purposes...all y'all are invited to stop by the Rockin' Bar L Ranch for a test drive if/when you're in the SF bay area.

Also, I'm working on the details to bring this beauty (and some others) to the Dallas shindig in March. Hope to see you there!

Happy Hot Dang Holidays!!
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Andy DePaule


From:
Saigon, Viet Nam & Eugene, Oregon
Post  Posted 6 Dec 2018 3:42 pm     Great...
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Great, we just booked our room for that Dallas show.
Look forward to see you and the steels there.
Guess I better have my Sierra hat to be in uniform?
Best wishes,
Andy Very Happy
_________________
Custom inlaid Star Guitar 2006 by Mark Giles. SD-10 4+5 in E9th; http://luthiersupply.com/instrument-gallery.html
2017 Mullen SD-10, G2 5&5 Polished Aluminum covering.
Promat #11 2007, D-10 Blond & Mahogany with Gold Tuners.
Clinesmith Triple 8 Console, Birdseye Maple.
Clinesmith Joaquin Murphy style Aluminum 8 String Lap Steel.
Clinesmith Aluminum 8 String Frypan Ordered.
1950's? Blankenship D-8 PSG Restored.
1956 Dewey Kendrick D-8, Restoration Project.
Morrell 8 string lap steel.
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Ross Shafer


From:
Petaluma, California
Post  Posted 7 Dec 2018 7:30 am    
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No uniforms required Andy
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Barry Blackwood


Post  Posted 7 Dec 2018 10:16 am    
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A little nitpicking here. It's such a beautiful guitar, but why the four exposed screws at the corners of the top? It seems to defy the clean aesthetic of the rest of the instrument.




Last edited by Barry Blackwood on 7 Dec 2018 10:21 am; edited 1 time in total
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Andy DePaule


From:
Saigon, Viet Nam & Eugene, Oregon
Post  Posted 7 Dec 2018 4:11 pm     Tone is the reason
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Barry Blackwood wrote:
A little nitpicking here. It's such a beautiful guitar, but why the four exposed screws at the corners of the top? It seems to defy the clean aesthetic of the rest of the instrument.



Not sure I should answer for Ross who knows about a thousand times more about his steels than I know, but here goes;
Tone is the reason. The "Sound board" (Top Deck in other steels) is free floating on just those 4 screws leaving it free to vibrate with the music and add to the tone. To that end even the fretboard (A solid screwed down neck on most all other steels) is free floating and only touches the soundboard in a few small spaces allowing the top to vibrate more free and add to the tone.
The idea actually goes all the way back to some very early steel guitars built by P.A. Bigsby from 1947 to about 1960. Worked well for Bigsby and also works well for Ross and the new Sierras too.
Ross was a great Luthier for many years before getting involved in building steels. He brought that wonderful knowledge of acoustics in instruments with him to the building of pedal steel guitars.
Hope that is a good answer, but sure Ross could explain it far better.
Nothing on the instrument is just a quick solution. It's all thought out with care and knowledge as well as a lot of experimenting along the way. Very Happy
_________________
Custom inlaid Star Guitar 2006 by Mark Giles. SD-10 4+5 in E9th; http://luthiersupply.com/instrument-gallery.html
2017 Mullen SD-10, G2 5&5 Polished Aluminum covering.
Promat #11 2007, D-10 Blond & Mahogany with Gold Tuners.
Clinesmith Triple 8 Console, Birdseye Maple.
Clinesmith Joaquin Murphy style Aluminum 8 String Lap Steel.
Clinesmith Aluminum 8 String Frypan Ordered.
1950's? Blankenship D-8 PSG Restored.
1956 Dewey Kendrick D-8, Restoration Project.
Morrell 8 string lap steel.
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Len Amaral


From:
Rehoboth,MA 02769
Post  Posted 7 Dec 2018 6:01 pm    
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There is a .100 thousandths gap to suspend the neck from the frame. I would think these Allen bolts are related to that.
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Andy DePaule


From:
Saigon, Viet Nam & Eugene, Oregon
Post  Posted 7 Dec 2018 6:31 pm     That's right
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Len Amaral wrote:
There is a .100 thousandths gap to suspend the neck from the frame. I would think these Allen bolts are related to that.


That's right Len... As you know it's for the same reason to free up the soundboard.
Almost all other PSG's have the top deck glued to the front and back apron restricting the freedom. Ross avoided this.
I thought to mention that, but was getting too long winded already. Glad you put that in.
Congratulations on your beautiful new Sierra. Very Happy Mr. Green Yes I'm a little green but really should get some of my too many steels sold before buying another.
I sure see one of these in my future somewhere in the not too distant time ahead. Rolling Eyes Very Happy
_________________
Custom inlaid Star Guitar 2006 by Mark Giles. SD-10 4+5 in E9th; http://luthiersupply.com/instrument-gallery.html
2017 Mullen SD-10, G2 5&5 Polished Aluminum covering.
Promat #11 2007, D-10 Blond & Mahogany with Gold Tuners.
Clinesmith Triple 8 Console, Birdseye Maple.
Clinesmith Joaquin Murphy style Aluminum 8 String Lap Steel.
Clinesmith Aluminum 8 String Frypan Ordered.
1950's? Blankenship D-8 PSG Restored.
1956 Dewey Kendrick D-8, Restoration Project.
Morrell 8 string lap steel.
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b0b


From:
Cloverdale, Northern California
Post  Posted 7 Dec 2018 9:17 pm    
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Yes, the reason for the 4 bolts is tone. Just yesterday I had a chance to hear a well-mixed, live recording of my steel with a country dance band in a promo video. My playing was average Oh Well but the tone of the guitar was incredible. Just goes to show, it's not "all in the hands". I've never sounded so good, and my hands haven't changed. Mr. Green
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-b0b- (SGF Admin) Bobby Lee ♪ @b0bleeCopedentsRecordings
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Charles Kurck


From:
Living in Arkansas but Heaven is home
Post  Posted 8 Dec 2018 5:47 am     Aesthetics
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Some might find this an easy aesthetic fix.





https://www.boltdepot.com/Product-Details.aspx?product=9355
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Charlie McDonald


From:
out of the blue
Post  Posted 8 Dec 2018 6:12 am    
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One thing I like is its honesty in construction, like architecture that expresses its function.
No reason the fastener wouldn't show, part of a design that works in producing tone.
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Ross Shafer


From:
Petaluma, California
Post  Posted 8 Dec 2018 6:23 am    
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Good question Barry, This is something I wrestled with. Given my druthers originally, I'd have preferred the cleaner hidden fastener approach. That said, I'm a HUGE advocate of "form follows function" and the mechano aesthetic of those 4 mounting bolts appeals to me and looks "right" given their functionality.

The 4 bolts are all that holds the deck to the guitar which helps facilitate the "floating" concept of the top that others have mentioned above. Yes, I could have been more clever and come up with a way to bolt the top on from underneath, but that would have made at least one of the bolts very difficult to access without some major dis-assembly. I want these bolts easily accessible so the owner can check them easily and tighten them up if needed.

I've worked on a number of different steels at this point and am no longer surprised at how common loose fasteners are...especially those going into or through wood. I encourage all steel owners to toss their rig up on a bench and do a "tour de tighten" from time to time. Do not mistake this for encouraging super tight fasteners everywhere.

I hope this answers your question Barry.
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Ross Shafer


From:
Petaluma, California
Post  Posted 8 Dec 2018 8:15 am    
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oops, forgot to mention.....Andy is correct that I built some armpit guitars before delving into pedal steel construction...but "a great luthier for many years" while flattering isn't quite the case. Thanks Andy, but I'm truly not worthy.

I was supremely lucky to apprentice with Taku Sakashta back in 2000 or so, under his tutelage I built 4 F5 mandos (first real woodworking project ever...talk about the deep end!) and a couple 335 ish arch tops. I've subsequently built one flattop acoustic. I'm a mere babe in the armpit guitar construction world.
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Andy DePaule


From:
Saigon, Viet Nam & Eugene, Oregon
Post  Posted 8 Dec 2018 4:04 pm     I'm impressed
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I'm impressed, Working and learning with Taku Sakashta.
Seems to me like a day with him would equal about a year with most other luthiers.
I only met him and saw his work in person once at one of the Healdsburg shows in the 90's.
Was an amazing luthier and no doubt one of the best there ever was.
Very sad what happened to him. Sad

Armpit Guitars? Now there is something I never heard before!... Laughing
F5 mandolins are just about the most difficult instrument there is to build without pedals and knee levers.
_________________
Custom inlaid Star Guitar 2006 by Mark Giles. SD-10 4+5 in E9th; http://luthiersupply.com/instrument-gallery.html
2017 Mullen SD-10, G2 5&5 Polished Aluminum covering.
Promat #11 2007, D-10 Blond & Mahogany with Gold Tuners.
Clinesmith Triple 8 Console, Birdseye Maple.
Clinesmith Joaquin Murphy style Aluminum 8 String Lap Steel.
Clinesmith Aluminum 8 String Frypan Ordered.
1950's? Blankenship D-8 PSG Restored.
1956 Dewey Kendrick D-8, Restoration Project.
Morrell 8 string lap steel.
View user's profile Send private message Send e-mail Visit poster's website Yahoo Messenger
Ross Shafer


From:
Petaluma, California
Post  Posted 14 Dec 2018 7:57 am    
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a blast from the past....from bikes to steel guitars? They've both got pedals!

https://www.youtube.com/watch?v=NHUi2cO2kik[/url]
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