#151
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Congratulations Ian!! And as Doug said, welcome to the Michaud family!
It has been a long time coming and I'm so glad that Joel has met all your expectations and more. That guitar is a real beauty and I look forward to hearing it in action
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#152
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Quote:
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Ian K. 2018 Michaud OO-R 2012 Webber Dreadnaught *SOLD* 2010 Eastman E20OM 1994 Guild D30 1979 Yamaha FG375S (retired) 1974 Norman B30 (retired) |
#153
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Thanks Marcus, I'm glad you had a chance to see this guitar in person.
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Ian K. 2018 Michaud OO-R 2012 Webber Dreadnaught *SOLD* 2010 Eastman E20OM 1994 Guild D30 1979 Yamaha FG375S (retired) 1974 Norman B30 (retired) |
#154
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Ian,
Welcome to the Machinga club. Steve
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Still crazy after all these years. |
#155
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Review Part 1
From when I started looking for a new guitar 4 years ago, little did I know how this would play out. After all is said and done, this has been a very pleasant experience. This is what I would consider a Modern build, the genesis of this idea came easily though, through the process/journey that we took. Joel and I had a good rapport from the beginning and the ideas flowed naturally as we went along.
Fit & Finish Everything looks good, nice clean work, especially after having to re-top the guitar. The Manchinga proved more difficult to work then normal, I presume that spalted material has issues in general. Joel noted the sides were difficult to bend and rippled a fair amount. Some of the wood was semi-punky, which Joel feels has stabilized after finishing. Not sure I would recommend this wood to anyone, unless it has really spectacular patterns and such. Replacing the Ebony with Rocklight worked well, just looks like really black Ebony to my eye and the feel was no different on the fretboard. Joel noted that the bridge turned out lighter then his usual Ebony results, which he felt was good for this build. He likes how it can be worked easily, less waste, and will likely recommend it to more and more clients moving into the future. The finisher did a good job with the satin black neck. The detail was tricky with the head plate in gloss transitioning into the satin. Here are two detailed shots of the Headstock - The transition from the fretboard to the neck was also a bit difficult to accomplish. It was hard not seeing a slight shadow of the fretboard thickness as I wanted this transition to be seamless. With the new fret marker design Joel came up with, this complicated the process but in the end, it came out the way I wanted it. Here is the final result of the transition - Aesthetics I have found that pictures do not do this guitar justice, the camera does not seem to capture all the nuance of the wood. The pattern of the Manchinga spaulting comes across well, yet there are subtle details that get lost. In person, this Manchinga material is very striking. The biggest surprise I find is the Adi top. The colour is very creamy and the medullar rays have an iridescent quality that I have not really seen before. I have tried to capture it here but the details don't photograph well - In direct sunlight conditions, there is a nice 3D depth to the surface that I quite like, with little diamonds embedded in the wood. While the medullar rays are not as prominent, they are also thinner than I would see in Sitka/lutz, yet they have this delicate quality that is pleasing to the eye. Very happy with how this top has turned out in the end. On the overall look, we were going for a simple design that let the wood be front and centre. I think Joel has gotten this right with this build. The overall look is quite stunning in person, though I think this could be said for almost every guitar; they just seem better when handled in person. Here are some final shots of views that I don't think I've shown of the finished build -
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Ian K. 2018 Michaud OO-R 2012 Webber Dreadnaught *SOLD* 2010 Eastman E20OM 1994 Guild D30 1979 Yamaha FG375S (retired) 1974 Norman B30 (retired) |