This guitar is actually an earlier work by Todd Lunneborg that originally didn't quite live up to his own expectations - until he re-voiced it. I will do a follow-up on the re-voicing process with a few notes on different tap-tuning techniques modern builders are using today, but I'd like to first take a look at this guitar as it is to establish the value of re-voicing such an instrument.
First off, I know I played this guitar before it was re-voiced, but I don't remember it. I don't forget a lot of guitars, so that tells me everything I need to know about it from before: it wasn't terrible (because I remember terrible guitars as well as great ones), but not worth as second look. It was worth a second try for Todd though - and it was definitely time well spent. In a word this guitar is: Responsive. It has good, well balanced volume. Getting great tone is effortless and the low end is surprisingly rich and full.
One of the first things you will notice in Todd's guitars is his obsession with lamination. It's never over-done to my eye, but you will find laminated braces, a 15-piece laminated neck and laminated end blocks (some high-end builders are intentionally using ply-wood laminated blocks at the end pin for strength, but Todd laminates them himself as a design element).
One of the other things you will initially notice (especially in this guitar - for obvious reasons) is the Olson influence. Jim Olson has been an inspiration to Todd, as he has been to many, but beyond the obvious dimensions and shape of this guitar that influence is noticeable in how it plays, feels and sounds - a testament to Todd's true original talent and ability. The obvious elements of this influence are likely to fade as Todd's career progresses (we've got some posts coming about some very forward-thinking designs from him this year), but I hope the attention to detail, playability and true sound only grow as he breaks off on his own path.
Body Size: SJ
Nut Width: 1 3/4"
String Spacing: 2 1/4"
Body Length: 19"
Upper Bout: 11"
Lower Bout: 15 1/4"
Serial #: 52
Body Depth @Neck Heel: 3 3/4"
Body Depth @Tail Block: 4 1/2"
Frets to body: 14
Total Frets: 20
Back/Sides: Brazilian Rosewood
Top Wood: Western Red Cedar
Fingerboard: African Blackwood
Neck Wood: 15 Piece Laminated Spanish Cedar, Indian Rosewood & Flame Maple
Bridge: African Blackwood
Rosette: Brazilian Rosewood & Koa
Binding: Brazilian Rosewood
Fingerboard Bindings: None
Headplate: African Blackwood
Headstock Bindings: African Blackwood
Headstock Inlay: Koa TL Logo
Top Trim: Mahogany Wood Lines
Back Strip: None
Fret Markers: MOP Dots
Tuners: Delta Gotoh 510 Series
Tuner Finish: Gold w/Ebony Buttons
Case: Calton Deluxe Flight Case
Name: Todd Lunneborg
Location: Andover, MN
Years in Business: 7 years as TLGuitars, 20 years as a repair and tour tech.
Specialty: Acoustics and Electrics.
Artists that play your instruments: Bon Iver, Michael Gulezian, Smilin' Liar, Throw the Fight, Love-Cars, Halloween, Alaska, Bill Mike Band, Haley Bonar, and Nomia.
Luthier Influences: James Olson Guitars, Jerzy Drozd Basses, William "Grit" Laskin Guitars, Carl Thompson Basses, Bryan Galloup Guitars, Fender, Martin, PRS, Gibson, Charlie Hoffman Guitars, Matt Artinger Guitars, Michael Tobias Basses, Jeff Traugott Guitars and Linda Mazer Guitars.
Philosophy of Building:
Tradition is a huge part of my guitar building process. Honoring and following the Minnesota tradition of building great acoustic guitars has been the end goal for me ever since I decided to start making guitars. Those makers are my inspiration, my starting point, and the epitome of what I think a great acoustic can be.
My electrics focus on the shapes and custom instruments I love; guitars with progressively designed shapes and build techniques with hand carved tops, neck through lines, and perfect ergonomically balanced bodies.
Blending what he considers to be the best aspects of traditional custom guitar building with a progressive and multi-influenced design approach Todd Lunneborg is finally building instruments that match it the pictures he sees in his head. Being a guitar maker in Minnesota sets the bar high and it is the best source of inspiration, education, and hand-me-down tools for this fingerstyle guitarist/ guitar tech/ guitar teacher turned guitar maker.
His education as a luthier started at the age of 13 as a repair apprentice at a mom and pop music shop in the Alexandria,Minnesota. He has benefited from time spent loitering in all of Minnesota’s custom guitar makers shops. Todd’s acoustics draw their origins, shapes, and traditions from all of the custom guitar makers in Minnesota and his electrics are a finely cooked, ergonomic blend of his favorite commercially made electric guitars and modern custom bass builders.
Todd has also served as a guitar tech for Bon Iver, Peter Himmelman, Billy McLaughlin, Love-Cars, Happy Apple, Lateduster, Smilin’ Liar, Chris Koza/ Rogue Valley, The Evening Rig, Cowboy Curtis, The Sensational Joint Chiefs, Haley Bonar, Bill Mike Band, Nomia, and Halloween, Alaska. He studied fingerstyle guitar technique with John Stropes, and has run sound for Taj Mahal, Nada Surf, Loudon Wainwright III, Soul Coughing, The Mighty Mighty Bosstones, Guided by Voices, Left Over Slamon, the Honey Dogs, Mason Jennings, Greg Brown, Atmosphere, John Hiatt, Remy Zero, Shannon McNally, Eyedea and Abilities, Chuck Prophet and Billy Bragg.
He currently builds guitars and teaches guitar building courses out of his Andover, MN shop. Todd is a regular contributor to the Fretboard Journal.
Website & Contact Info:
Todd Lunneborg Guitars
4420 158th Avenue NW
Andover, MN 55304
Endorsements, quotes & links to interviews and other media:
Write more, thats all I have to say. Literally, it seems as though you relied on the video to make your point. You obviously know what youre talking about, why waste your intelligence on just posting videos to your blog when you could be giving us something enlightening to read? apple itunes login
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