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!
A four decade tenure in the guitar-making world has given me a pretty good overview of things. As a guitar tech and musician I’ve recorded dozens of times in real studios and played live hundreds of times. As a designer, facilities and plant manager for a number of brands, I’ve overseen the production of tens of thousands of guitars. My lean/Kaizen consulting business has seen me working in the biggest guitar factories in the US and Mexico, and I’ve toured the guitar plants of Japan, Korea and China.
But what I really enjoy the most is making guitars one by one with my own hands. And that’s why I’m really digging this Tulsa Artist’s Proof thing I’m doing right now. Each of these instruments starts off as a completely freewheeling, let-my-instincts-rule sort of jam session. They are ideas I’ve toyed with, or suggested to clients before—and never followed through with.
They aren’t “stock” models, and they’re all different. Some utilize combinations of woods, hardware and electronics that I don’t really offer on the stock models. Normally, I have a small team helping me build the Dantzig models: Tulsa, Milano, Tupelo and Rialto, but this is a different thing altogether. I’m a lot more hands on, and honestly, it’s the closest you could get to one of my signature guitars without the signature.