Had the pleasure of having this built in tandem with #436 in African Blackwood awhile back. Yet another delightful experience seeing this come to shape.
Madagascar Rosewood back and sides, neck block and other build parts prior to assembly.
Madagascar rosewood hand-braced by Bill.
The insides of a Charis soundbox with Bill’s insignia etched into the neck joint.
European swiss spruce top with koa / pearl abalone / koa triple ring abalone rosette.
A fully quartered African Madagascar Rosewood back with gorgeous sap running down the center.
5-piece neck, ebony headstock and ebony fingerboard with doves in flight fingerboard inlays
A 5-piece neck in mahogany / maple / rosewood / maple / mahogany allows for increased neck stability and aesthetic beauty.
Ebony headstock outlined in pearl abalone purfling with a koa Charis logo outlined in pearl.
Ebony backplate with a “ducktail” neck joint outlined in pearl abalone. Besides being aesthetically elegant, this carefully carved raised edge adds to strength and mass without trespassing into the playing section of the neck joint.
Near complete Charis guitar body prior to fixing on the neck.
The madagascar rosewood body is paired with a florentine cutaway.
Flame koa binding and a koa end graft outlines this small jumbo body.
Pore filler being meticulously applied to the headstock.
Pore filler being meticulously applied to the guitar body, allowing the natural grains to show.
A final coat of polyeurethane prior to buffing.