As the week begins, I’m back in the workshop with another Artist’s Proof guitar. This one is something I’ve wanted to do for a while—a double German carve Tulsa in white limba. The face of the instrument is a tightly figured curly maple, while the back is a nice chunk of figured limba—sometimes called korina here in the US.
I’ve built the neck from a single piece of limba with a beautiful Braz rosewood fingerboard. My signature “Claw” inlay is at the 12th fret. As is often the case on my guitars, the headstock face is black ebony.
I’ll be using a TonePros adjustable wrap bridge, which should be interesting on this guitar. Here’s how I check the neck fit and angle before I glue it in place. The fit is extremely tight so I have to make certain it’s right before bonding—you don’t get a second chance do do it!
Paul Simon wrote, “every generation throws a hero up the pop charts” and how correct he was. But Simon could have been talking about the product life cycle of any consumer item that relies upon favor for its sales.
In my latest column for Premier Guitar I examine the budget bin guitar fad. Click here to read.
Fifties guitars and boutique handmades are priced out of the reach for all but the wealthy or the truly dedicated players—something was bound to burst. Just as Andy Williams was left high and dry by the arrival of The Beatles, so too might be the fate of instruments from the golden age. Disdain of the old has often been the motivation for trends of the young.
We don’t need your stinkin’ Les Pauls, PRS and Stratocasters, we’ve got cheapo student guitars that sound funky and make us look different than the old people in classic rock and country.
Maybe the suits at PRS will abandon their collectibles attitude and scramble to duke it out with more trendy upstarts like Fano. The executive teams at Fender and Gibson are already turning the microscope onto the pages of their cheesiest past offerings—you know, the ones that sort of inspired Fano in the first place.
Meanwhile, Rickenbacker just continues on making beautiful and glorious sounding, but practically unplayable art.
Read my latest for Premier Guitar
Since my childhood, the electric guitar has called me in ways I simply cannot explain. From the first strains of “Greensleeves” that shook the camp gymnasium windows, to the feedback drenched nights at Chicago’s Electric Theater—I was hooked. Similarly, my builds are formulated in a part of my brain that defies concious explaniation.
I imagine dusty boots walking railroad tracks, birds of prey and the jumble of words racing down antique telephone wires. A sixth sense that connects the delta with those who live in the city. The Crow is a messenger, harbinger and scrappy traveler. Like the touring musician who lives by his wits and intuition, the crow is alive in all of us.
After a few week’s absence from the docket, the binding of Hell’s Half Acre is back on the burner. Both neck and body are trimmed with a checked purfling made of ebony and maple—then bound with Italian-made cellulose.
Of particular beauty is the florentine cutaway, which is my siganature flourish. I love the way the purfling and ivoroid binding mitres at the peak. It’s a bitch to do, but the results are worth it. Getting the black stripe of side purfling to line up isn’t a walk in the park either. If it were easy, wht fun would it be?
The idea here is to evoke the cowboy theme contained in the history of Fort Worth’s most lawless period and place known as Hell’s Half Acre. The checked, half-herringbone really does look like the trail driver’s lariat. Now the guitar is completely roped in and ready to bring home. Just as the trail bosses pushed their herds north from Texas to the railheads in Oklahoma, we’re ready to push on with our project.
All that remains in the Sakura build is the case and to complete the binding of the journal. So while we’re waiting for those components I decided to get some portraits taken. Hope you enjoy them.
Closeup of the amazing detail and precious gold inlay of the hand engraved plates.
Here’s a front shot that shows the overall form. I really like the way the tone knob shows the cherry color. I enjoy the small details so I try to work them in so that they continue to delight as time goes on.
So many things today are built to “wow” you on first blush, but then they’re done. That’s why they get “upgraded” or traded off by their owners. Sakura’s charms are subtly hidden from immediate view, which allows them to be revealed slowly over time. You’ll probably never find them all.
24k yellow gold sun. Click on the photo for more detail.
Yellow, rose and green gold inlets. Click for more detail.
Here’s the back profile showing how the entire form works together.