Please note: due to changes in regulations and constant design developments, we sometimes need to change details such as binding and inlay materials.
This is a beauty, even if I do say so myself. There was a lot of discussion to get everything decided and sometime such things can go round in circles, but with someone like Ben, it's easier to explain the consequences of particular features and have reasonable confidence that you've both got it right. Body size and style first, then scale length and soundboard, followed by body materials and decorations. The neck dimensions are always critical, but don't have much effect on other things so that can be dealt with as a separate issue.
Ben wanted a "bevel" on the top edge, I persuaded him to let me make it a "rolled edge", it isn't at all obvious, but is actually much more significant than it looks, and very comfortable. I've not seen it on other acoustic guitars and it's tricky to do. The downside is that nobody will notice, and it is hard to photograph. If you meet Ben, ask him if you can have a play. Don't be surprised if he says no.
Back and sides are curly Claro Walnut, the top is Sinker Redwood. The bindings are made from ancient Bog Oak and are much thicker at the "rolled edge", and rounded over, with no significant sharp corner. The neck is made from three pieces of very old Mahogany, and two thin slices of Ebony. Everything bordered with delicate red lines, and the red lines are bordered by delicate black lines. There is a basic principle in a lot of this - if it's easy to do, I don't want to do it. Story of my life.
Ben says "Absolutely incredible sound, I'm over the moon with it!"
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