Ken Parker Archtoppery - The NecK Journey -20) The Neck End Veneer

[@imperfectsguitarsounds]

I just finished watching all 172 videos published on the channel and I can only confirm every single word written in my previous comment. You are a true innovator, a genius of modern luthiery and an excellent teacher. Your channel, for the quality of the content, would deserve 100 times the number of subscribers it has. It is, without a shadow of a doubt, the best luthiery channel on KZbin. I would like, and I think it could be interesting, a Riff episode in which you recommend books on the subject of luthiery, as done in the past with the recommended manuals on tools. And, despite the name "Archtoppery", I would also be very happy to see some videos on the construction of electric instruments. The Parker Fly is a concentrate of innovation that deserves to be described and dissected by the person who created it. I don't know if they could be interesting ideas, even if absolutely unsolicited and, perhaps, a little irreverent and I apologize in advance for having been. Thanks again for the company and serenity you transmit but, above all, for the inspiration and hunger for knowledge that each of your videos instills in me. Luca.

[@kenparkerarchtoppery9440]

Wow, what an extravagant endorsement! Thanks very much for your appreciation. I love doing Archtoppery! I do hear your request for electric instruments. It's a fertile field, and as everybody knows, electric guitar design has been defined and confined for most of its short life by the successful designs of two American guitar companies who hit home runs in the 1950's. As a repair tech, I worked on thousands of high quality American made (large majority, anyway) guitars for 15+ years and saw just about every failure mode there is to see. As a result, I felt that my goal as an electric guitar designer was in large part to design around the fatal flaws and design failures of the big companies. For the most part, this seemed pretty self-evident; for example, if corrosion was a big problem with the bridges, how 'bout we try using corrosion resistant metals? There are lots of thought experiments here that will lead the obsessed/curious to better solutions, so I like your suggestion, and will see what we can do, thanks!

[@zounds13]

@@kenparkerarchtoppery9440 I'd definitely watch that.

[@Cshanghai]

It's interesting to see, as well as brilliantly solving a number of problems with the neck joint, how useful that carbon post is in so many stages of building the neck.

[@kenparkerarchtoppery9440]

Can't beat it with a stick, the neck pin is Heroic! The funnest part is to clamp it in a heavy vise and marvel at how stiff the neck is and strong the connection between the neck and the neck pin is. The likelihood of unwanted neck resonances that mute or amplify certain notes is greatly diminished. I can't tell you how pleased I am with this invention, a complete success with all kinds of spin-off plusses... Easy removal for repair or maintenance or finish touch up or airplane travel. In-tune action adjustment in one second while in playing position. Possibility of using another neck on one body with a different scale, # of strings, etc. As you suggest, a rock-solid way to hold the neck for any needed attention, fretwork, polishing, etc. Thanks for your praise, it made me want to add some of my own, my bad, sorry.

[@Cshanghai]

@@kenparkerarchtoppery9440 It truly is an engineering marvel. No apology required; I'd be just as proud of it if I'd come up with it! I'd also add that the end result looks very beautiful as well.

[@kenparkerarchtoppery9440]

Thanks again. At first, I was covering the carbon post with gold leaf, but soon quit bothering with it because 1) it can't survive the pressure where the neck rubs against the aluminum tube when the action is adjusted, and so can rub off and look scruffy 2) I decided that honesty was the best policy and chose to show the carbon/epoxy structure in all its industrial glory, and 3) I was first amused, then got tired of answering the question "How is that block of brass that holds the neck on attached?" at guitar shows. No kidding, many, many times. Still, I chuckle to think that I can lay claim to being the first artisan to cover carbon/epoxy with gold leaf. Your guitar, of course, could come with this feature if you desire. images.squarespace-cdn.com/content/v1/58dd73cf6b8f5beb11d1200f/1534180777724-AGSITK2LKXTIG4P58Q98/neckjoint1200.jpg?format=2500w

[@rootvalue]

The truss rod joke made me laugh. I love your lightheartedness in your work. No stress or strain, just listening to the feedback the part gives you, and occasionally giving a little chuckle when it surprises you. Those moments are great.

[@kenparkerarchtoppery9440]

Thanks! I'm still as enthralled as I ever was with my work, it feels like my best friend. Learning is the best, no?

[@JulienChevalier-e9s]

Your work and how you share it to us is such a beautiful gift, a massive thank’s from France Ken!

[@kenparkerarchtoppery9440]

Merci Beaucoup! I'm so pleased to be of service. Happy building!

[@Aeidotronics]

Good stuff as always. I need more brass-knobbed jigs in my life.

[@kenparkerarchtoppery9440]

It's really gratifying to have a good lathe and be able to make things you can't find.

[@solemashi]

Each neck really is a journey in both how it is manifested then how it manifests music.

[@kenparkerarchtoppery9440]

Well put. The neck is so much more interesting and influential a component of the guitar than it normally gets credit for.

[@wrstew1272]

Two O’Clock in the morning, and my favorite luthier shows up…👍

[@kenparkerarchtoppery9440]

I was asleep, it's not my fault.

[@wrstew1272]

@@kenparkerarchtoppery9440. I wasn’t and I’m always happy to see another video that you so generously provide! Funny how much I enjoy watching a really great craftsman do what he loves doing. At all times when I have the freedom to participate 😊

[@pierrem.martelli5173]

Charming !…

[@kenparkerarchtoppery9440]

Thanks!

[@Jack_Plisken]

"Dead on balls accurate"

[@kenparkerarchtoppery9440]

Well, close enough, anyway.

[@chrispile3878]

Ken - I spotted a pedal steel under that bench. What's the story, pray tell?

[@kenparkerarchtoppery9440]

Fender triple neck, all steel, no pedals or levers, and pretty dusty. It's on loan from a buddy. I should probably give it back, it kicked my butt. PS, get a load of this genius.... kzbin.info/www/bejne/paTWpWSAg5qMoZY&ab_channel=LukeCyrusGoetze

[@chrispile3878]

@@kenparkerarchtoppery9440 I love the sound of pedal steel. It's the purest of guitar sounds.

[@chrisyoung8062]

I'm a little confused about the numbering of the last two shows which were 19 and 20 but 21 was released two weeks ago. What am I missing? UPDATE: I think I understand. 21 was released out of order but was the explanation of how the neck joint adjustment works.

[@kenparkerarchtoppery9440]

All good? Sometimes I get mixed up with the order of things too.

[@kenbaugh1237]

I just watched a video of Tommy Emmanuel and Martin Taylor playing your archtops. Tommy commented about their playability, a playable Gypsy Jazz guitar. I have tried many Selmer and Maccaferri guitars, own a few. All of them have a very thick blocky neck profile. I can't understand why. I see your archtops have very thin neck profiles. I also understand that you are probably not making gypsy guitars but jazz guitars. A more modern neck shape would be a benefit to most players trying to learn the Gypsy style. I noticed no pricing on your website. I assumed the old adage applies, if you have ask, you can't afford it. That said I really enjoyed seeing Tommy and Martin jamming, I saw them on that same tour. Most excellent. If I hit the lottery, expect a phone call.

[@kenparkerarchtoppery9440]

The neck is the most unexamined part of the guitar, it seems to me. Balancing the function of the neck as a playground for the musician vs. the function of being a stiff, resonant dependable structure has always been a challenge. I believe I have met this challenge i my own work by creating a uniquely stiff neck design with the help of carbon fiber and epoxy, as I demonstrate. It sure solved a lot of problems, and lets me make a neck that feels comfy to most players. Neck shape is a problem on most manouche guitars, I agree. I don't know if it just became the accepted style for the form, or what, but as a group they are chunky. It seems quite likely that the manuche guitar builders noticed that they couldn't get their necks to behave properly if they made them any smaller. All my time as a builder I've been obsessed with action, neck shape, and access. It's just common sense to try to deliver tthe best possible experience to the player! Thanks for your kind words!