Paul kelday the crack in the universe - Family History UK - Free UK Genealogy - Sunames and surnames

"What could possibly cause a zero fret to wear faster than the fingered frets?"

I didn’t say that they wore faster than the fingered frets, but they do wear - hence me having to replace them. Bending strings on the first fret seems to be a common cause.
Anyhow, there does seem to be a marked difference in the sound of an instrument with or without the zero fret (the common argument for fitting them) and I prefer the sound without them - and those thrown together Romanian instruments sound better without them. As I said before, it is these instruments that tend to come in with worn zero frets due to tuning up and down - the nuts are badly cut.

Interestingly, the two makers of fretted instruments whose work I admire the most - Bill Kelday and Stefan Sobell - don’t tend to fit zero frets, so it may be partly due to prejudice.

Yes, I’ve often thought that it was only me getting the roughly handled instruments - I did until I met some other repairers who handle folkies’ instruments.
I mind one guy bringing in a Les Paul gold top (he was a folkie, but with other aspirations) saying it had problems playing in tune. The top E string was the problem. I asked when he had last changed it "about a year ago" says he.

"And for a back to separate by the block, where you’ve got all that extra gluing area, plus the chin rest clamp holding it together, is very rare indeed,"

Not so in the north of Scotland.

Most would argue that when you put all of these components together as a whole, the tap tones you sought are thrown out of the window.  I feel there is some truth in this: however, I feel that if you are aware of what happens with hindsight, then you know what notes to go for in order to work around this.  If you make the top and back to be at least a tone apart, then I find there is little chance of them actually becoming the same note when they are adjoined.  It is, after all, mainly about separating the notes so there is less chance of having one dominant note when the guitar is played. And as I mentioned, I know what to make my top and back because I know what my body note is going to be.  It all comes down to experience, really.

This guitar was built in honor of Richard Schneider, who along with Dr. Kasha worked to develop new bracing and voicing ideas for the modern guitar.