 |
|
 |
August 2006 |
Dear Friends,
It's been too long since I've written a newsletter. I'll try to catch up with what is going on here in California and around the world.
Signature Model:
In July of 2005 I set about redesigning my Signature Model. Up until that time I have always been very happy with the sound and playability of 
that guitar, which was fairly traditional except for the "double top" and the optional sound ports. But sometimes a guitar maker gets ideas in his head that won't go away without trying them, so I decided to introduce several different design elements all at once. This is not the "scientific" way to do things, which would dictate trying one thing at a time to try and isolate the effects of each change. But I've always been an empirical sort of person, so I just threw many different ideas into the pan and started cooking.
It took me about ten instruments to get it right, and the results are astounding. The New Signature guitar has more strength, clarity, dynamic range, balance and beauty of sound than any guitars I know of. It is very easy to play, looks nice and smells great. I know I am speaking from the highly prejudiced point of view of the designer and maker, but hey - I believe it.
The special elements of the new Signature Model guitar include:
The double top: Lately there has been much written about double top construction. I've been making double tops for over five years with some success. I think it gives my guitars a wide and very sensitive dynamic range, both with volume and with color, but it still maintains a delicious beauty and complexity of sound. It's loud, but not just loud, it's beautiful. Also the double top allows me to use both spruce and cedar in the same guitar top, giving me the best of both worlds: the clarity and brightness of spruce combined with the warmth and romance of cedar.
The elevated fingerboard: This feature changes the angle of the tension of the strings on the top. It helps to create an immediacy of response and carrying power to the sound. It is also easier to play in the upper reaches of the fingerboard, above the twelfth fret. The elevation is not too high, just about 9 millimeters.
The tapered body: normally a guitar body is usually about 5 mm thinner at the upper neck block than at the lower tail block. With the elevated fingerboard I compensate that taper the same 9 mm as the elevation, and the added taper seems to aid in the focus of the instrument.
The sound ports: Robert Ruck influenced me to try sound ports in the sides near the heel. 
This was one of the best decisions I've ever made. It makes the guitar louder both for the audience and for the player, it makes the sound fuller, surrounds the player more effectively, and loosens up the movement of the top. It has the effect of instantly aging and maturing the guitar sound. This effect is not just for the player; it is easily heard by the listener as well.
The laminated sides: Some makers over the years have laminated sides, including Ramirez, Friedrich, Ruck and others. My good friend Gil started doing it on his guitars, and convinced me to try it. The lamination of a thin veneer of cypress inside helps reduce tension in the sides and create stability and possible sustain. Also it smells nice.
The truss rod: I've used double action truss rods in all of my instruments since around 1998. The truss rod works very well, and allow the neck to be adjusted to the perfect relief, enabling me to adjust the left hand playability to the perfect compromise for the individual. I think of the truss not as a remedy for neck problems, but as a fine adjustment to dial in perfect action.
Add a lovely French polish finish, wonderful wood and a sweet workshop here in California and the new Signature Model guitar is a dream come true for me. I hope you get the chance to try one.
OTHER NEWS:
German and European Distribution
I am pleased to announce Musik Jellinghaus based in Dortmund Germany, is now my 
German distributor. Wolfgang Jellinghaus is a strong businessman and a good friend, and he is making the Signature Guitars available first in Germany, and in other parts of Europe, as supply allows. I am very happy and proud to be associated with Wolfgang.
New Master Series Flamenco Model
Over the past two months I have made prototypes of a Master Series flamenco guitar based on an instrument by Manuel Reyes of Cordoba Spain. Reyes guitars are among the most sought after by modern flamenco players, and after hearing how terrific these copies sound, I can understand why. I am producing two versions: 1A and 2A, with different price levels based on the the materials. The 1A uses Andalucian cypress and European spruce, while the 2A uses Monterey cypress and Englemann spruce. Both models are excellent flamenco guitars. We'll have photos of this model soon.
Chinese Production and Gossip
I have been working in China for about 4 years, producing my New World Guitar line there. We have experienced a supply slow down as that shop regroups at a new location, with the same craftsmen but under new management. Also, over the past 9 months, I have been consulting with a new guitar factory making Martinez classical guitars. These guitars are primarily distributed in Europe, but they are coming to the US as well. They are excellent student guitars with a sound and quality that certainly belies their low prices. We hope to find major distribution for these guitars, and to see them in music stores all around the country in the near future.
On the gossip side, well, someone is counterfeiting my guitars. I guess you 
know you've arrived when someone starts ripping you off. I have become aware of someone using a very crude label with my name, Kenny Hill, and even very badly forged signatures on the label. It's puzzling, a little silly and I think there are not very many out there, mostly in Asia. I think I will find who is doing it soon, and they will look quite stupid. If you have any questions about the authenticity of any Hill Guitar please feel free to contact me and I'll do my best to clear it up.
I wonder why they have done this. It can't make much money for them, and in the end it will blow up in their faces. I guess I should be flattered.
One other thing. Since January of this year I have been playing classical guitar standing up. I put strap buttons on my guitar and started walking around while practicing, and standing up for performances. . It's fun, much more comfortable, is easier on the back, and makes for a better relationship with the audience. I've even made a special signature guitar that lets the guitar hang more ergonomically balanced for playing. I understand that David Starobin and Ross Thompson have been doing this for years, and for good reason. And of course the great steel string fingerstyle players have been doing it forever. I'm sure I won't be going back any time soon. I'll write more about this when I have time.
It's been a good year. I thank you all for your interest and your support and your encouragement. It makes it all worthwhile.
Kenny Hill
August 2006
|
