WEBVTT 00:00:00.160 --> 00:00:06.200 Martin: - I am so happy because this is my favorite music instrument of all, my guitar, 00:00:06.400 --> 00:00:10.320 and I have Carlos Montoro here from Anjuda Guitars. Carlos: - Hi. 00:00:10.580 --> 00:00:13.300 Martin: - A guitar luthier. You actually build guitars. Carlos: - Mhm. 00:00:13.300 --> 00:00:17.640 Martin: - Carlos is going to help me repair this guitar, because we have an issue over here. 00:00:17.640 --> 00:00:24.120 Apart from the guitar being really dusty, there's a crack here under the fretboard. 00:00:24.480 --> 00:00:26.760 So Carlos is shining from the backside of the guitar 00:00:26.760 --> 00:00:31.340 and you can see the light goes straight through under the fretboard here. 00:00:31.340 --> 00:00:33.540 Martin: - How does it look? Carlos: - Looks bad. 00:00:33.780 --> 00:00:35.160 Martin: - Bad? 00:00:35.460 --> 00:00:39.960 Carlos: - We need to close the gap. Martin: - And then this string? 00:00:40.840 --> 00:00:46.020 Martin: - Yeah, so if you open it? It goes on this fret when you open it, 00:00:46.020 --> 00:00:47.780 and when you close it, it goes on the nut. 00:00:47.840 --> 00:00:52.560 Carlos: - The string is forcing the neck of the guitar to go in this way. 00:00:52.560 --> 00:00:56.840 So we need a thin strip of sanding paper. 00:00:57.380 --> 00:00:59.380 Martin: - Oh, sweet. 00:00:59.380 --> 00:01:01.680 [background music] [♪ unreleased/Work ♪] 00:01:01.780 --> 00:01:09.140 Carlos: - Now looking at the dust I made, I can see this clear sand here is from the binding, 00:01:09.420 --> 00:01:14.980 and this more darker is from under the fretboard. You can see the colour matches. 00:01:15.040 --> 00:01:21.040 Now hopefully we don't lose the lacquer. Martin: - Aw, doesn't matter. It tells the story. 00:01:21.100 --> 00:01:23.816 Carlos: - I always say that to my clients. 00:01:23.820 --> 00:01:28.800 "I got a ding in my guitar!" - Oh, come on, let the guitar tell the story. 00:01:28.820 --> 00:01:31.160 Carlos: - Let the... let the time break your guitar. 00:01:31.160 --> 00:01:33.500 Martin: - Ah, so they want you to just make it look old? 00:01:33.500 --> 00:01:34.600 Carlos: - Yeah. Martin: - Huh. 00:01:34.600 --> 00:01:37.040 Carlos: - Exactly. Martin: - Oh, that's cheating. 00:01:37.820 --> 00:01:39.480 Carlos: - Exactly. 00:01:48.360 --> 00:01:51.040 Martin: - Just what the doctor ordered. 00:01:51.280 --> 00:01:55.780 [music in foreground] 00:02:08.880 --> 00:02:12.760 Martin: - So Carlos explained to me that he wanna make a special clamping technique. 00:02:12.760 --> 00:02:13.700 Carlos: - Mhm. 00:02:13.700 --> 00:02:16.920 Martin: - That we don't want to clamp the fretboard down to the neck, 00:02:16.920 --> 00:02:21.960 but you want to clamp the neck up to the fretboard, to not bend the fretboard. 00:02:22.180 --> 00:02:29.040 Carlos: - Correct. So this way hopefully, with the zip ties, we will get that. 00:02:30.160 --> 00:02:32.960 Martin: - So I asked Carlos: "Do you have enough glue in there?" 00:02:32.960 --> 00:02:35.300 And he was like, "the glue is supposed to spread", 00:02:35.300 --> 00:02:38.080 and now it's spreading evenly everywhere. 00:02:38.080 --> 00:02:41.560 So I'm always using way too much glue on everything. 00:02:41.700 --> 00:02:44.540 Carlos: - And you know what? We can't go with too much glue 00:02:44.540 --> 00:02:47.060 because the truss rod is just in the middle of the neck. 00:02:47.060 --> 00:02:47.760 Martin: - Okay. 00:02:47.760 --> 00:02:52.480 Carlos: - So we need the truss rod to keep moving so the guitar can be adjustable. 00:02:52.680 --> 00:02:54.740 Carlos: - I feel good about this. 00:02:54.980 --> 00:02:59.460 So now that we have the glue setting and drying, 00:02:59.460 --> 00:03:04.080 we are going to move the truss rod, often. 00:03:05.140 --> 00:03:11.520 And hopefully, the truss rod will not be glued with the fretboard and the neck. 00:03:11.520 --> 00:03:16.440 Martin: - Yeah, so the truss rod is like a long bolt that goes through the whole neck of the guitar. 00:03:16.440 --> 00:03:18.440 It goes all the way down here? Carlos: - Mhm. 00:03:18.480 --> 00:03:21.300 Martin: - And it can adjust the tension of the neck. 00:03:21.300 --> 00:03:23.340 So often when you repair your guitar, 00:03:23.420 --> 00:03:25.320 you always check the truss rod. 00:03:25.320 --> 00:03:29.970 Carlos: - You always check the truss rod, always, and you adjust the truss rod always. 00:03:29.970 --> 00:03:35.980 Carlos: - So this is a truss rod. There are several types but they all work more or less the same. 00:03:36.080 --> 00:03:39.340 As you can see, this is a neck, work in progress. 00:03:39.340 --> 00:03:44.120 This is just rough cut and here is a slot in the wood. 00:03:44.220 --> 00:03:51.720 So pretty easy to place the truss rod in the slot and then glue the fretboard on top of it. 00:03:51.840 --> 00:03:58.420 All the truss rods have some way to actuate them. In this case it's with this four millimeters allen key. 00:03:58.500 --> 00:04:05.840 So you insert it, turn it clockwise, and, as you can see, a bow is generated in the truss rod. 00:04:06.440 --> 00:04:10.520 So when the fretboard is in place, all the neck is forced to bow as well. 00:04:10.820 --> 00:04:14.600 Carlos: - Do you know, how do we call the truss rod in Spanish? 00:04:14.600 --> 00:04:15.620 Martin: - No. Carlos: - The soul. 00:04:15.620 --> 00:04:16.740 Martin: - The soul? 00:04:16.740 --> 00:04:18.940 Carlos: - The soul. Martin: - Wow, that's beautiful. 00:04:19.140 --> 00:04:21.780 Carlos: - Yeah, it's the perfect name for that, 00:04:21.780 --> 00:04:26.080 because indeed it's something that is hidden in between, 00:04:26.160 --> 00:04:30.900 and when the truss rod is not workable, you don't have guitar at all. 00:04:30.900 --> 00:04:32.520 It's like, dead guitar. 00:04:32.520 --> 00:04:35.420 Martin: - Happening with no soul. Carlos: - No soul. 00:04:35.600 --> 00:04:40.480 Martin: - But Carlos, it doesn't sound so good. Carlos: - Oh, it takes time. 00:04:40.780 --> 00:04:42.920 Martin: - The glue needs to dry first? 00:04:42.920 --> 00:04:46.260 Carlos: - How long hasn't you used making the MMX? 00:04:46.280 --> 00:04:49.200 Martin: - Don't rub it in! 00:04:49.200 --> 00:04:52.220 [playing a riff on muffled and detuned guitar] 00:04:54.580 --> 00:05:01.480 Carlos: - You know you are in front of a musician when they can do music with just anything. 00:05:02.400 --> 00:05:05.800 Martin: - Do you call it music? Carlos: - It can be. 00:05:06.280 --> 00:05:11.220 We let this dry for today, so I think it's time to untie it. 00:05:11.300 --> 00:05:14.160 Martin: - During these days, I got to know Carlos better, 00:05:14.160 --> 00:05:17.380 and Carlos told me that when you meet a customer, 00:05:17.600 --> 00:05:22.560 you focus more on the relationship between the customer and the customer's guitar, 00:05:22.580 --> 00:05:24.120 than the guitar itself. 00:05:24.120 --> 00:05:28.760 Carlos: - Yeah, you're a musician and you know that musicians can get very close to their instruments, 00:05:28.980 --> 00:05:35.340 and they feel like very personal for them. For them is like to go to the doctor. 00:05:35.340 --> 00:05:36.220 Martin: - Yeah. 00:05:36.340 --> 00:05:39.940 Carlos: - You know, do you have your doctor that you are confident with? 00:05:39.940 --> 00:05:41.660 Martin: - Yeah. Carlos: - It's the same with luthiers. 00:05:41.660 --> 00:05:46.560 Martin: - Yeah. Even if it's a cheap, kind of bad guitar, 00:05:46.560 --> 00:05:52.300 you treat it with the same respect as if it's a vintage hundred year old guitar, 00:05:52.300 --> 00:05:56.740 because of the emotions that the customer has for his instrument. 00:05:57.120 --> 00:06:01.552 Carlos: - The price is not of the instrument. It's not in the money. 00:06:01.552 --> 00:06:04.420 It's in the customer's relationship with it. 00:06:04.540 --> 00:06:08.940 Martin: - That's beautiful. It's exactly how I feel with this guitar, 00:06:08.940 --> 00:06:14.340 because now when I see it on the operating table, I realize how much it means to me, 00:06:14.440 --> 00:06:16.880 and that I've been taking it for granted, 00:06:16.880 --> 00:06:20.840 and putting it just against walls and letting it fall. 00:06:21.200 --> 00:06:23.500 [testing strings with clear tone] 00:06:23.600 --> 00:06:26.720 Carlos: - Yeah. It seems we did it. 00:06:27.480 --> 00:06:31.100 Now it's time to give love to this thing. Martin: - Okay. 00:06:31.340 --> 00:06:34.260 Carlos: - Before the love, there's always the fight. 00:06:37.000 --> 00:06:42.020 [music in foreground] [♪ unreleased/Helping Out ♪] 00:06:50.240 --> 00:06:52.420 Carlos: - Secret formula. 00:06:52.820 --> 00:06:54.800 - Mhm. 00:06:58.780 --> 00:07:01.280 Martin: - Mhm, oh my... 00:07:02.820 --> 00:07:05.220 Carlos: - Alright, isn't it? Martin: - Oh wow. 00:07:09.480 --> 00:07:12.460 Martin: - I didn't know it was black. [laughs] 00:07:15.160 --> 00:07:17.240 [music fades] 00:07:17.280 --> 00:07:22.620 Martin: - I mean, who does this to his guitar, when you can just buy a strap lock? 00:07:22.620 --> 00:07:24.620 [chuckles] 00:07:25.600 --> 00:07:27.820 [strums guitar strings] Martin: - Check out this guitar! 00:07:27.820 --> 00:07:31.980 Carlos built this beauty. It has a bookmatched... maple? 00:07:32.000 --> 00:07:34.480 Carlos: - Maple, yeah. Martin: - Why is it so cool? 00:07:34.660 --> 00:07:40.980 Carlos: - Because this is actually the figurine of the wood itself. 00:07:41.080 --> 00:07:46.040 Martin: - It looks like a blue tiger. Carlos: - Yeah, it's called flame maple actually. 00:07:46.160 --> 00:07:52.520 [guitar music] [♪ unreleased/Jamming with Carlos ♪] 00:08:23.720 --> 00:08:25.580 [ends with pronounced bass note] [laughing] 00:08:25.640 --> 00:08:27.860 Martin: - I love it, it's nice! 00:08:29.640 --> 00:08:34.440 Martin: - I can't believe, you... you built something like this. 00:08:34.440 --> 00:08:36.080 Carlos: - You tell me? 00:08:36.840 --> 00:08:38.660 Martin: - Ah, yeah. 00:08:39.420 --> 00:08:43.120 Martin: - Ok, should I try if the guitar is finished? 00:08:43.120 --> 00:08:45.040 [strums chords] 00:08:45.040 --> 00:08:46.740 Oh wow, new strings! 00:08:46.940 --> 00:08:48.240 Honey, I'm home! 00:08:49.240 --> 00:08:50.240 Ooooh! 00:08:50.460 --> 00:08:57.800 Carlos: - I didn't make any adjustment, but I think it is good as it is, like this. 00:08:59.640 --> 00:09:02.920 [Martin playing a blues line] 00:09:06.440 --> 00:09:08.380 Martin: - It's so beautiful! 00:09:08.980 --> 00:09:12.100 [playing rhythmical chords] 00:09:12.320 --> 00:09:14.680 I can only play bossa nova, apparently. 00:09:14.680 --> 00:09:16.680 [laughing] [jamming ends] 00:09:16.680 --> 00:09:17.860 [background music] [♪ unreleased/Helping Out ♪] 00:09:17.860 --> 00:09:22.440 Martin: - Ok, so Carlos is now adjusting the bolt that goes through the whole neck 00:09:22.440 --> 00:09:25.100 and you're going to go to an extreme position? Carlos: - Mhm. 00:09:25.100 --> 00:09:27.440 Martin: - ...where the strings are too low? Carlos: - Too low. 00:09:27.440 --> 00:09:29.820 Martin: - and then we go up until it's playable. Carlos: - Yeah. 00:09:29.820 --> 00:09:30.800 Martin: - Ok. 00:09:30.920 --> 00:09:34.540 Carlos: - So, we are going to check the straightened of the neck. 00:09:34.740 --> 00:09:36.800 Martin: - And how does it look now? 00:09:37.040 --> 00:09:39.840 Carlos: - This, it look a little bit bad. Martin: - Ok. 00:09:39.840 --> 00:09:43.240 Carlos: - So it seems that we can straighten the neck a little bit. 00:09:43.240 --> 00:09:46.540 Martin: - Ok. So now you're going clockwise 00:09:46.540 --> 00:09:50.520 to get the ramp to force the neck down towards the table here. 00:09:50.600 --> 00:09:52.820 Carlos: - Mhm. Martin: - So bend like that. 00:09:53.640 --> 00:09:58.740 Carlos: - So, you know that you have gone too far with the truss rod tightening 00:09:59.000 --> 00:10:02.620 when it starts to buzz on the first frets. 00:10:02.620 --> 00:10:05.140 [guitar makes buzzing sounds] 00:10:08.440 --> 00:10:09.700 Not good. 00:10:09.760 --> 00:10:13.120 Martin: - Okay, so then you have to give more relief? Carlos: - Yeah. 00:10:13.120 --> 00:10:16.829 Martin: - So it's a compromise between easy to play and no buzz. 00:10:16.829 --> 00:10:18.520 Carlos: - Yeah, exactly. 00:10:18.520 --> 00:10:20.520 [much less buzzing] 00:10:20.560 --> 00:10:25.640 Still a little bit of buzz, but it is something that some players can handle good. 00:10:25.760 --> 00:10:27.360 Martin: - Can I try? 00:10:27.580 --> 00:10:31.420 Martin: - Does it work for bossa nova? Carlos: - Yeah, smoothly. 00:10:31.660 --> 00:10:34.120 [jamming] 00:10:34.320 --> 00:10:35.900 Martin: - This feels better. 00:10:42.940 --> 00:10:44.680 Carlos: - You see the buzz there? 00:10:44.680 --> 00:10:47.300 Martin: - It's only on that note actually. Carlos: - Yeah. 00:10:49.360 --> 00:10:51.820 Martin: - I don't like F anyway. 00:10:51.940 --> 00:10:55.400 Can we make a tiny adjustment to higher, 00:10:55.400 --> 00:10:59.700 because this is very, very easy to play? It feels very good though. 00:10:59.700 --> 00:11:03.240 Carlos: - I'd say that we should loosen a little bit more. 00:11:03.480 --> 00:11:05.840 Martin: - Yes. Here we go. 00:11:10.160 --> 00:11:11.120 Yes. 00:11:13.220 --> 00:11:16.660 Carlos: - When you have this set up, in guitars, 00:11:16.660 --> 00:11:23.540 and then it's... at that point is when it's important to check out the guitar in winter and in summer, 00:11:23.540 --> 00:11:25.940 because now it will be affected by the weather. 00:11:26.060 --> 00:11:29.620 Martin: - Ok. Because it's so tight. Carlos: - Because it's so tight. 00:11:29.820 --> 00:11:33.460 Martin: - But how can I learn to play something else than bossa nova? 00:11:33.460 --> 00:11:35.660 Can you solve that for me? Carlos: - You tell me! 00:11:36.080 --> 00:11:39.449 Martin: - I actually asked Carlos... I want the strings lower, 00:11:39.449 --> 00:11:41.920 and I thought I was having to put this down. 00:11:41.920 --> 00:11:43.300 Carlos: - Yeah. Martin: - But you didn't touch this. 00:11:43.300 --> 00:11:48.340 Carlos: - Yeah, it's the first thing that people should suggest: to touch the bridge, 00:11:48.500 --> 00:11:53.160 and actually it's more important to touch the truss rod and have it in the right position 00:11:53.160 --> 00:11:56.260 and then you can go to the bridge if needed. 00:11:56.540 --> 00:11:59.668 Martin: - Carlos, an amazing experience 00:11:59.668 --> 00:12:04.300 seeing you work with my baby guitar. Thank you so much! 00:12:04.360 --> 00:12:07.980 Carlos: - Thank you! Thank you so much for bringing me here 00:12:07.980 --> 00:12:12.400 and work here with the bass and the MMX. It was just wonderful! 00:12:12.400 --> 00:12:19.840 Martin: - My pleasure. It's so fun to have expertise company in the workshop 00:12:19.860 --> 00:12:25.800 and as I've said a lot of times, I learn so much more seeing someone work in real life 00:12:26.060 --> 00:12:30.840 than just trying to find information on the internet. So, that's lovely. 00:12:30.900 --> 00:12:35.500 And, it feels like, I've been building for like three years, 00:12:35.860 --> 00:12:39.880 and a little bit this feels like a little start for my music again. 00:12:39.880 --> 00:12:41.560 So it means very much to me. 00:12:41.560 --> 00:12:45.660 [intense music] [♪ unreleased/My Dream Snare Sound - Full ♪] 00:12:49.460 --> 00:12:52.940 These videos are brought to you by our backers 00:12:52.940 --> 00:12:55.300 through youtube channel memberships or Patreon. 00:12:55.340 --> 00:12:58.660 Thank you so much everyone who are supporting and thank you 00:12:58.660 --> 00:13:03.031 for believing in this crazy dream that is the Marble Machine X. 00:13:03.040 --> 00:13:05.860 Thank you so much for watching. See you on the next one! 00:13:05.860 --> 00:13:08.680 Martin: - You're not happy yet. You want to tweak it more. 00:13:08.740 --> 00:13:11.460 Carlos: - Yeah. Martin: - Ok. Love it!