Tag: Shop

Tweed Case Wrap Up

In keeping with my intention to construct individually singular builds for my Signature Series guitars, I’ve made certain that the cases are unique to each guitar as well. The Crow, inspired in part by travelling musicians and the escapades depicted in Kerouac’s On the Road, will receive a lacquered, woven-cloth covered hard case. The covering, which is often erroneously refered to as tweed, is actually a twill material familiar to guitarists as the finish used by Fender on their 1950s amplifiers and guitar cases. My reference was a 1940s suitcase that I found in a junk shop in New Hampshire.

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The modern material supplied by the manufacturer was not an acceptable reproduction, so I went about lacquering it myself. I wanted the patina of age and experience that would be a fitting companion to the guitar itself.

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The final touch was to add a hygrometer to monitor the humidity within the case. The gauge was inserted into the case pocket from the outside, which required a pair of pass-throughs to allow the interior air to reach the sampling point on the back of the hygrometer. I used brass grommets to match the rest of the case hardware.

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Here a setting tool is used to crimp the grommet onto the pocket lid. This connects the main chamber of the case to the pocket.

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I combed through my leather selection to find a remnant to use for the case pocket’s pull tab. I’d entertained making the pull something crow or bird-themed, but rejected the idea as too cute and just went with a utilitarian pull tab of brown leather to match the case trim.

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Once trimmed to size and burnished to match, I punched a hole and fastened the pull to the pocket door flap with a brass rivet.

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After the gauge was sealed to the outside with silicone I could insert the pocket into the case. The orientation is such that it can be read easily when the case stands on its end or side.

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Now it was just a matter of fitting everything and screwing the mounting blocks into the case. The inside is finished with red velvet plush and the back of the gauge is covered except for another brass grommet.

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The entire idea is to allow the interior humidity and temperature to be read from the outside. This is particularly useful when the instrument is in a rack with other guitars.

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For an all analog solution, I think it turned out quite well. After living with the results for a few days, it has become so normal to check the readings that I can’t imagine not having it there. The Crow’s nest is ready.

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.