This is a semiacoustic guitar with bent sides and carved top and back. It has some interesting details; personally, I like the way I avoided the pickguard bracket, which is an annoyance for some players. The tailpiece has a singular design; the first time that I made one like that, I was trying to find easier ways to ground the strings. This is not necesary for this guitar (the grounding is at the bridge), but I like the design anyway.
As all the guitars here, this one is just an example. If you want something similar but it is not exactly what you see, please take into account that you can change a lot of things, many without additional cost. Email me and we’ll talk!
The maple center block increases sustain and avoids feedback:
Curly maple carved back. Curly maple sides:
European spruce carved top:
Curly maple neck, with 25 1/2″ (648 mm) scale, longer than the usual 24.75" found on these guitars. Many players will welcome this modification. The bone nut has a width of 1 11/16″ (43 mm). The ebony fretboard has mother-of-pearl dots and stainless steel jumbo frets (Jescar FW47104SS).
Curly maple bindings with plastic purflings.
Ebony pickguard. It doesn't use a metal bracket to attach to the side. Instead, it uses a tab that protrudes from the ebony ring at the bridge pickup. The other anchor point, ahead, has a hidden carbon fiber reinforcement.
Art-déco tailpiece, made of ebony, bubinga and ovangkol:
Schaller Nashville bridge.
Pickup rings made of bubinga (some pictures show ebony rings, as I changed them later). The neck pickup ring is reinforced with carbon fiber:
The jack is located here, not on the top.
Ebony knobs with a small white mother-of-pearl and abalone inlay:
Gibson Classic 57 Plus pickups. Bourns potentiometers. Switchcraft switch and jack.
Gold Schaller M6-135 machines, with ebony buttons.
D’Addario EJ21 (12-52) strings.
Nitrocellulose finish, "plumburst".
