Crow Wing Spread in Guitar Player

With about fifteen minutes to kill before our pizza was ready for pick up, my wife and I ducked into Barnes & Noble. Carla headed directly for the photography magazines while I hovered over a copy of Vintage Motorcycles. Eventually, I made my way to the music section and opened up a copy of the latest Guitar Player.

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The main subject was dedicated to fuzz boxes so I was curious and hoping to see some coverage of my good friend Analogman. Before I got to the effects-pedal article I found something that stopped me dead and brought a smile to my face.

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Wow! Just wow. There she was, spread out over two full pages—Rick Whittey’s epic shot of the Crow perched on a tree branch. Now, of course I knew that the editors had the shot, but I wasn’t prepared for this. Even when you pour yourself into a project like I do, you’re still happy when people “get it” and this told me that they did.

I rounded the corner of the aisle where Carla was standing and flashed the spread just to see her beautiful smile.

Thanks guys.

 

Ye Ancientest Bone Orchard Angels

A while ago I wrote about how my headstock design came about. I was reading a book called In Small Things Forgotten: The Archaology of Early American Life, by James Deetz. The book is a study of the archeological history of  early America (or New England) which is where I currently reside.

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Chapter four entitled Remember Me as You Pass By outlines the evolution of headstones carved in Connecticut and Massachusetts  in the period between 1715 and 1829. I was struck by the author’s description of  how the symbolism used on headstones changed in step with society’s evolving ideology and notions about life, death and the hereafter.

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The gravestones begin as simple markers with warnings about death, transitioning to the memorials that we are more familiar with today. The inscriptions begin to refer to the “earthly remains” alluding to the idea of a soul or afterlife being separate from the buried husk. It is interesting to note that society’s concept of the human being’s place in the universe is not static. Even today, despite our “modern” scientific arrogance, we are still evolving our understanding of what it is to be alive.

Yesterday, my casual glance came across the book. I was reminded of my earlier post and the way that chapter influenced my design. It was a gorgeous day so I decided to take a field trip to one of the early graveyards mentioned in the book.

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Sandwiched behind a freeway entrance ramp and a dead end street, I found New London’s “Ancientest Bone Orchard” quiet and almost forgotten. I made my way around looking at the stonework and reading inscriptions. Just as I’d hoped, I found examples of exactly what I’d read about.

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This is an early example—a winged death’s head. Note the row of scary teeth and blank eyes. Certainly a grisly warning about the end of the line.

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Next is a transitional winged skull. The bottom of the nose resembles a frown as the teeth become less evident as well.

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Another skull sports crossed bones and a very prominent frown. The teeth have migrated to the bottom and appear almost as a collar.

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Finally, surrounded by urns and flowers, the cherubs and angels appear around 1860. These headstones clearly are memorials as opposed to just body markers. The upturned wings, eyes and mouths signify a happier ending than the death’s heads of just half a century before.

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Although tramping around in a three hundred year old cemetery isn’t my usual idea of a picnic, I was thrilled to witness the actual articles in the Deetz book. It was a sobering reminder of the transience of life. As I read the inscriptions I couldn’t help but to think of the families who have grieved at their loss. I said a few words—a kind of haiku—and moved along home.

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Even though the shape of my headstock isn’t exactly the same as the headstones that helped to inspire it—I’m still hoping that it too will be remembered as people pass by.

Sakura Guitar Engraving Update

The idea for the Sakura Guitar came to me in January while at a sushi restaurant. The large bottle Sapporos may have had something to do with it. My original “napkin” sketch on dinner table set things in motion with a large cherry blossom (sakura) inlaid on the body. In other views I sketched large metal plates with engraved flowers.

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As the next day arrived, the sketches still looked cool so I pressed onward. The first real step was to start a dedicated journal of drawings and notes as I played with different ideas.

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Slowly, things were coming together. The more I read about Japanese history and the significance of the cherry blossom as a symbol of rebirth, the more I knew this project was going to be fun. I decided to design a motif to be engraved on steel plates for both the front and back of the guitar in the tradition of Tony Zemaitis’ work.

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I cut the plates from a sheet of cold rolled steel, and then finished the edges and drilled and countersunk the mounting holes.

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I didn’t want to use lasers or chemical etching, the technique that is most often seen on guitars today. I wanted the real thing—hand engraving. This technique creates a sparkle and depth that absolutely cannot be matched with shortcut methods. I wanted to raise the bar.

At first, I thought about learning engraving and doing it myself. As insane as that seems to me now, I really thought of it as an option. I’m good with tools, can draw, and have steady hands—why not? Well, the more I looked into it, the more I realized that real hand engraving was a whole career path, not something you pick up in a few days or even months. The kind of work I was looking for was something that takes a lifetime of dedication. That’s when I found Heidi Roos.

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After a thirty year career as a jewelry designer and goldsmith, Heidi turned her attention to hand engraving. Recruited by renowned gun decorator Paul Lantuch in 2003, Heidi helped launch the engraving department at the legendary Sturm, Ruger & Company. Mentored by Lantuch, Heidi learned even more old world techniques that have served her (and her high-profile clients) well.

Six years ago she came to Baron Engraving in Trumbull, Connecticut where she has completed projects for celebrity customers and collectors. Her resume includes commemorative editions for Harley Davidson, Beretta and Colt, including the Centennial edition of the Colt 1911. Recently, Heidi’s shopmate Rob Bunting, engraved a custom Browning High Wall rifle which sold at auction for $143,000 to benefit the USA olympic shooting team. When I learned of Heidi’s love of Japanese art, I knew she was the only one to bring my Sakura project to life.

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Yesterday I rolled over to Baron to see how Heidi was coming along with the work and I was simply floored. The level of detail is beyond what I imagined. Seeing my drawings translated to raw steel by a master like Heidi just about brought me to tears.

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Here you can see her working on the branch and flower detail that sweeps around the edge of the back plate. In the center you can see the Sakura that “grows” up the center of the guitar.

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We decided to spot-plate the blossom petals with rose gold for a pink hue. At the top of the scene the sun peeks out from behind the clouds, signifying a new future or rebirth. The sun will be inlaid with 24k gold.

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The idea to add some green gold to the branch and leaves came up, and we decided that done subtly it would add an entirely new dimension to the work. I just can’t wait to see the finished pieces—and this is just the back!

Crow Debut in Guitar Aficiondo

Many thanks to the great people at Guitar Aficionado for featuring The Crow in the new (July/August issue). The Rick Whittey photo sessions were rewarded handsomely with super-fine printing and a full page size—right up front in the book.

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Writer Adam Perlmutter’s words capture the essence of the build, nailing philosophy and circumstance behind it all. Somehow it is both perfect and pretentious at the same time. I even managed to slip in the word “schmuck” when talking about marketing guys—although it actually might have been something stronger.

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Go ahead, buy the issue and brush up on your wine and cheese repertoire while perusing photos of Kirk Hammett’s crib in Hawaii. If you’re feeling oh-so-rebellious—steal it.

 

Frosted Duco Finish Flies

Jimi Hendrix’s Machine Gun is roaring in the shop today—fitting. With the fine weather and perfect humidity, I did give ’em the gun. Four more coats of nitro on Sakura, but more importantly, The Crow got the frosted Duco black lacquer. I had to wait overnight to see the complete result, and it’s breathtaking.

Duco Drying

Exactly as I’d hoped, the Duco finish looks like crow’s feathers, and it is different on every part of the guitar. From bold, wide crystals to small intricate patterns—it’s all there.

The next step was to carefully un-tape the masked portions and then scrape the binding clean at the right time. There’s a fine line between too soft and too brittle to scrape. Happily, I got it just right.

Cutaway

I use a sharp blade to scrape the black Duco lacquer off the binding. I can vary the depth of the cut with pressure and the width is controlled by the angle of the blade relative to the side of the guitar.

Scraping Binding

Special care was needed to avoid scratching the clear nitro over the binding on the sides. After I was done I went back and did some final polishing and cleanup.

There is a pleasing tactile sensation when you touch this finish—something I hadn’t thought about but am happy with. I can’t wait to get all of the parts on this sucker and fire it up. That will have to wait for a bit while the finish cures completely.