The 28, part 1

 

Almost two years ago, I co-designed and commissioned another instrument in the KK series from Emerald Guitars.  This was to be a 28-string Double Subcontra guitar.  Last week, it finally arrived.  

Each of my instruments are in different tunings, and some of them are also in different registers.  The 28 is intended to be in C subcontra tuning, which is a major third below E contra tuning.  

Contra tuning is defined as being one octave below concert E tuning; concert E tuning is the standard for guitars.  I had nothing in the C subcontra register, so the 28 fills that role.  

 To expedite things at Emerald, I opted to do some of the final work, such as:

• Installing the K&K stereo pickup system.  I've been an artist endorser for K&K for several years; their pickup systems are the perfect sonic fit for carbon fiber instruments.  For my doubleneck instruments, they build a special stereo system for me.
• Installing the cello fitting.  This is the fitting at the bottom of the body into which a cello pin inserts.  I prefer the New Harmony parts for both cello fittings and cello pins. 
  
• Adding two banjo tuners.  These are for the two triple courses on the right neck.  I have banjo tuners on several of my instruments for additional courses.  I only use the Rickard Cyclone tuners due to their 10:1 tuning ratio.  They're also beautifully crafted and reliable.
• Swapping four of the guitar tuners for bass tuners.  The bass string gauges on both necks require bass tuners, so I removed four of the Gotoh mini-510 series tuners and replaced them with Gotoh bass tuners.  I've been using Gotoh tuners for many years; they're well-made and accurate.

The left side of the instrument is currently tuned in octaves.  This side consists of seven double courses, or 14 strings.

The right side is currently tuned as follows.  The first four courses in 5ths; low two (bass) courses in octaves.  The top two triple courses are tuned to diapason/fifth/octave.  This side consists of 14 strings in six courses.

The original course spacing wasn't as I wanted.  There was too much space within each course, and on the left side, the three bass courses were too close.  I filled a few of the existing nut slots and cut new ones to improve the course spacing; both within and between courses.

Regarding the two triple courses: I'm not sure I'll be keeping those as triples in the long term.  The 30-string Double Contraguitar has six triple courses, and I don't feel that I need more triples.  Currently on the 28, with the fifth and octave triple courses, they're providing an interesting platform for new harmonic structures, so I'll leave them for now.

Action measurements are perfect, but I don't think I slotted the nut deep enough for the first couple of courses on the left side.  Over the next couple of days, I'll get serious about the nut slot depths on those strings.

Strings gauges are pretty good on the lower registers.  Not sure about the upper registers.  I think the diapason strings are all just about correct on both sides, but a couple of the octave strings seem to be a bit too light.  It's close, but really getting string gauges perfected for each of the KK series instruments can take months; sometimes a couple of years in the case of the 36.  There's string wastage in the process, but that's just part of the process and can't be helped. 

The neck profiles on the 28 are interesting.  On the 36, 30 c/a, 15, and C4, the back of the neck is essentially flat.  On the 28, the back of the neck is a wide gradual curve, like a stretched C profile.  It's fine, but it's unlike anything I've ever played, so I'll have to get acclimated to it.  The neck profile isn't clubby; it's pretty slim front to back.  Just an unusual profile.  I've been shedding the 28 for a few days now, and the more I acclimate to the neck profiles, the more I'm liking them.

Voice and tone are exceptional.  Like a cross between a cathedral pipe organ and a cello.  Deep and rich in the lower registers; singing and full in the upper registers. Like all my carbon fiber instruments, balance in the voice is perfect.

I'm also totally digging the red color.  Being in the acoustic instrument world where instrument color isn't a consideration or concern, it still seems kind of odd to select an instrument color, but I like how Alistair treats the colors; very tasteful and beautiful.

The stock bridge saddles and nuts are made of Tusq.  This is a synthetic compound, and is pretty good for nuts and saddles as synthetics go.  However, I prefer bone, especially for saddles.  I prefer the tone and volume of bone saddles, and bone holds a string notch far better than Tusq.  Hence, the next steps will be to make bone saddles for both bridges.  For me, carving a saddle is an all-day task, but hopefully I can get those done in the coming week.

In conclusion: I'm excited about the 28-string and its possibilities and potential.  It will be pressed into service in upcoming recording sessions.  

As ever, my gratitude to Alistair Hay and everyone at Emerald Guitars.

-kk