KENT CHASSON "Prairie Style" Concert No. 100 (Engelmann/BRW)

iim7V7IM7 · #1 05-07-2014, 04:17 PM

As I mentioned in the prior post, Kent came up with two different designs when we first were reviewing early design proposals on this project: 1) a "craftsman style" design that emphasized simplicity, textures, and materials; 2) a "prairie style" guitar based upon Frank Lloyd Wright architectural design elements integrated into Kent's signature instrument aesthetic.

Concert No. 99 incorporated the "craftsman style" concept and No. 100 will incorporate the "prairie style" design. Both guitars will have a 24.9" scales, 15" lower bouts and will have a subtle 5/16" Manzer Wedge. Since we had colaborated so closely and both had a passion for the design aesthetic, Kent generously allowed me the privilege to A/B audition both instruments and choose the one that better meets my playing needs. I know that there is a clear BRW over Wenge bias around these parts, but Since I like both designs, I will let the guitars do the talking during their audition.

So one of these two guitars will be available from Kent if you're interested, but which one is TBD.

The Prairie Style of architecture utilized horizontal lines, flat or hipped roofs with broad overhanging eaves, windows grouped in horizontal bands, integration with the landscape, solid construction, craftsmanship, and discipline in the use of ornamentation. Horizontal lines were thought to evoke and relate to the native prairie landscape.

Here is an example of Prairie Style architecture by Frank Lloyd Wright in a sketch of the K.C. De Rhodes house in South Bend, Indiana:

The doors to the house incorporate an abstract tulip pattern in their glass that allows one to look out at nature through an abstract pattern:

As a reminder, I play mostly solo jazz chord melody with a hybrid technique using both a plectrum and my fingers. Upper fingerboard access, even volume/response across the strings and up and down the fretboard is paramount. The sonic goals that I communicated with Kent were for an instrument that was:

- Balanced instrument across all registers
- Favoring strong fundamentals over overtones (but not without overtones)
- Favoring a separation of notes over blending of notes
- Favoring sustain over quick decay
- Favoring immediacy over swelling
- having ample headroom and volume
- A warm and open sounding guitar
- Possessing shimmery, crystalline, trebles
- having some bottom end rumble

This guitar will be part of a trio of acoustic instruments; a) flattop (Chasson) b) gypsy (Lehmann) and a c) archtop (Comins). All should bring different feel and timbre to my playing.

When we spoke last August about top and back/side woods to best meet my goals, Kent had some very light and stiff, Engelmann sets to use for the tops that differ from the stereotypical Engelmann descriptors. For back and sides, he recommended Brazilian Rosewood and Wenge. Kent used Wenge in No. 99 due to its straight grained, textured, quartersawn nature. For his 100th guitar, Kent had a very nice quartersawn Brazilian Rosewood set that he chose for both sonic and aesthetic reasons.

Here is the back and side set. Certainly not the most ornate, but I very nice quartersawn set (more my speed).

More when I get it...

swiftz07 · #2 05-07-2014, 06:08 PM

That is a wonderful set of brazillian, especially by today's standards. Can't wait to see what a fine guitar Kent will build you. Congratulations!

iim7V7IM7 · #3 05-07-2014, 07:10 PM

I thought it was a nice looking set as well...It is not very flashy, like many slab cut sets that I see used in recent builds, but hopefully its structurally stable and Kent can coax it to "deliver the goods"...:-?

Quote:

Originally Posted by swiftz07

That is a wonderful set of brazillian, especially by today's standards. Can't wait to see what a fine guitar Kent will build you. Congratulations!

iim7V7IM7 · #4 05-10-2014, 01:32 PM

Here are the glued up BRW back plates for No. 100. The set is from stump wood that Kent has had for almost a decade. As I have said before, the set is not spectacular in its patterning like many flat sawn sets we see used of late; but it is likely structually sound and will serve as a good backdrop to the guitar's orimentation.

iim7V7IM7 · #5 05-11-2014, 03:08 PM

Kent has been drawing upon some of Frank Lloyd Wright's "prairie style" glass screen designs as inspiration for design elements in No. 100. Two Houses glass screens in particular; K. C. DeRhodes House - 1906 and Darwin D. Martin House - 1904 seem to be sources of inspiration for the headplate, fingerboard and rosette.

Unlike traditional stained glass, the FLW glass screens are designed to be looked through to the outside. The geometry of the abstracted patterns of nature superimposes itself upon the the softer forms and hues of nature itself.

K. C. DeRhodes House

Darwin D. Martin House

Kent Chasson · #6 05-11-2014, 03:32 PM

Obviously I need to build you a guitar stand with a hipped roof...

architype · #7 05-11-2014, 03:53 PM

Very cool! As a fan of Wright and the Prairie Style I'm looking forward to this thread.
There is a wealth of inspiration in Wright's stained glass designs. The windows of the Dana house in Springfield, IL are based on the Sumac tree and are some of my favorites.

iim7V7IM7 · #8 05-11-2014, 06:54 PM

I don't think that you'll be dissappointed...

Quote:

Originally Posted by architype

Very cool! As a fan of Wright and the Prairie Style I'm looking forward to this thread.
There is a wealth of inspiration in Wright's stained glass designs. The windows of the Dana house in Springfield, IL are based on the Sumac tree and are some of my favorites.

iim7V7IM7 · #9 05-14-2014, 06:01 PM

In the unusual 80. Degree F weather, Kent got the BRW sides bent and into his Concert form with some Khaya end and Florentine cutaway blocks.

iim7V7IM7 · #10 05-19-2014, 08:34 PM

Here is a micro adjustable circle cutter that Kent made to create some of the rosette concepts on No. 100 that we have been discussing. Kent needs to grind some 1/8" drill bits to create custom tools to use as custom cutters for creating some .010" channels that are too small to cut with a router bit.

Here is a sample of a custom printed, embossed label that Kent is considering using in these two instruments (No. 99 and No. 100). Small typographic elements communicate the maker's mark.