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The sides are glued to the top. Nick has put in side braces to stiffen the sides a bit. The upper and lower side braces align with the ends of the X-brace.
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I don't know if Nick ever officially called his jumbo a "Prairie State", although I've seen them referred to that way on more than a few occasions. Presumably because Nick's Jumbo was based on Stefan Grossman's Prairie State. I even found one reference to a "Franklin Jumbo Prairie State"! I'll have to ask Nick about it when I next speak to him. |
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Nick has clearly thought a great deal about bracing and how it affects tone, and how to achieve the tone he intends to achieve. I have a Franklin OM that has a particularly singing quality to the tone and I believe that he built it with just that tone in mind. He is a master. He and I discussed this guitar over email earlier this year. He is also a very pleasant man.
I would love to have another Franklin guitar - you are inspiring me with your build story! |
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I have a Brazilian Franklin OMC from 1981. Despite its age it is a superb guitar in amazing condition. The ivoroid binding had shrunk in places, this is quite normal, and after I bought it I had Jim Fleeting sort this out. It’s perfect now. Other than that no issues after nearly 40 years!
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The back is going on! You can see that the sides and the linings are relieved for the ends of the back braces. The ends of the braces are trimmed when the back is flush routed, and are hidden under the bindings...
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... like so!
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Looking good--that's a beautiful set of ABW!
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So the short answer is that it was officially designated a Franklin Jumbo, but lots of folks call it a Franklin Prairie State. |
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Nick is putting his signature back-stripe on my guitar. He constructed it out of a strip of the African Blackwood, surrounded with the figured Maple he's using for the bindings. The ends of AB are cut to a sort of arrow head shape; the maple strips are mitered and glued to form a point that fits the end of the AB. The maple is bent with a soldering iron. Nick has a special jig which he uses to glue the Maple along the edge of the African Blackwood. When the stripe has dried, he scores around the inlay, and then routs a groove in the back of the guitar and inserts the back-stripe.
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When it's broken down step by step each element is fascinating, and I'm also staggered by the amount of work (not to mention skill) that goes into building a Franklin guitar! |
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