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 one of the five guitars we made last year to investigate perceptions of different tonewoods (again). I've been asking some of the best guitarist's around to give me their opinion. I had a few more professional players visit to play them at the end of last year, and then I allowed four of the guitars to leave home and make their own way in the world. Since then, the current "complications" have got in the way, but I think I now have all the information from all the players who took part, and I'm going to try very hard to write about it next month.
I've kept this one guitar as a reference against some new guitars that we are working on, and they are now finished. So - the one remaining guitar, perhaps the best looking one, can now be allowed to leave home. Do you have a spare bedroom?
Gorgeous, very rare Vanuattu Blackwood back and sides (a relative of Koa). Cedar top. Long scale 12 fret neck to put the bridge in the best possible position and get maximum tonal range. Cutaway to keep the professional (showing off) fret access. Laminated neck with carbon fibre reinforcement and truss rod adjustment through the soundhole. Pearl diamond inlays. Ebony bindings. It's a development of ideas that I've been trying with people like Will McNicol and Martin Simpson. It sounds wonderful. Loud and very even.
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