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#91
09-21-2021, 10:30 AM
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I'm so glad to hear that, Bob. My own preference is for slightly wider, but with a slim C-shape. I made your guitar to the specs I prefer, so I'm really glad it's working for you. I appreciate the input, Mike and Nemo. I've had that crazy Redwood top (and other almost identical one, sawn from the same billet, for six or seven years. I bought them as a curiosity (sourced at Oregon Wild Woods), quite possibly of alien origin (thanks, Steve!), but I've been scared to use it because it's so outrageous looking. It's good stiff wood, and it has a deep, sustaining tap tone, so I know it would make a fine top. Maybe I should use some African Blackwood, or other uniformly dark wood for the back and sides, instead of forcing it to compete visually with the wild figure of the Padouk...? Then, on that dark back and sides, the crazy Redwood could get its freak on without being so gaudy... Hmmm... Yeah, that's the ticket! The thing that caused me to think of putting the Padouk and Redwood together was seeing how brilliantly Mark Hatcher combined that stupendous pomelle Sapele and the blue and white bearclaw Sitka in the guitar he sent to the BIG show. You'd think that with so much over-the-top visual detail, putting those woods together would just be TOO MUCH. But Mark made that guitar look sumptuously beautiful and exotic. Only a guy with Mark's supernatural skill could pull that off with such style!   Anyway, thanks, guys. Your input has pulled me back from the edge of madness. I will use the crazy flamed Redwood on a dark, mysterious Rosewood or Ebony foundation instead of forcing it into a permanent cage match with the Padouk.
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Edwinson Last edited by theEdwinson; 09-21-2021 at 10:44 AM. 
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#92
09-21-2021, 01:57 PM
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My buddy Joel, who is always a calming influence on me, just suggested pairing the radical Redwood top with a nice, quietly sedate WENGE back and sides. I dug one out, and we both agree, YES, that’s it!
I’m also thinking of making an offset sound hole on the upper bout bass side- inspired by Ben Wilborn’s Comma series. Same structural concept, but a different design. That would get the maximum active soundboard area out of the crazy Redwood; and the metallic ring of the Wenge will bring more focus and projection to the Redwood as well. Anyone care to chime in on that? I might listen to alternate points of view, but I think Joel has talked me into using the Wenge.IMG_3235.jpg
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Edwinson
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#93
09-21-2021, 02:59 PM
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Now that looks like an awesome pairing for that redwood!
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2013 Stehr Auditorium (Carpathian/Myrtle) 2015 Stehr Auditorium (Adi/BRW) 2020 Baranik Meridian (Blue Spruce/Manchinga) 2020 Wilborn Arum (Tunnel 14/Coco) 2021 Kinnaird Graybeard (BC Cedar/Bog Oak) 2022 Kinnaird CS Student Build (Adi/Padauk) 2023 Kinnaird FS (Italian/Koa)
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#94
09-21-2021, 03:21 PM
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Good Lord -- that guitar of Mark's is just beautiful !!! I agree ... it would be easy to make those woods look "too much" and gaudy but Mark nailed it.
I think you are making a good choice with the Wenge - look forward to seeing this one come together. All the Best !!!
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#95
09-21-2021, 04:29 PM
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I like the wacky Redwood with the wenge!
And I look forward to seeing what you do with the offset soundhole. Have fun you Paul
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4 John Kinnaird SS 12c CUSTOMS: Big Maple/WRC Dread(ish) Jumbo Spanish Cedar/WRC Jumbo OLD Brazilian RW/WRC Big Tunnel 14 RW/Bubinga Dread(ish) R.T 2 12c sinker RW/Claro 96 422ce bought new! 96 LKSM 12 552ce 12x12 J. Stepick Bari Weissy WRC/Walnut More
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#96
09-21-2021, 04:30 PM
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Jeez I hate dictating to my phone
Do have fun Paul
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4 John Kinnaird SS 12c CUSTOMS: Big Maple/WRC Dread(ish) Jumbo Spanish Cedar/WRC Jumbo OLD Brazilian RW/WRC Big Tunnel 14 RW/Bubinga Dread(ish) R.T 2 12c sinker RW/Claro 96 422ce bought new! 96 LKSM 12 552ce 12x12 J. Stepick Bari Weissy WRC/Walnut More
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#97
09-21-2021, 04:31 PM
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--------------------------------------- 2013 Joel Stehr Dreadnought - Carpathian/Malaysian BW 2014 RainSong H-OM1000N2 2017 Rainsong BI-WS1000N2 2013 Chris Ensor Concert - Port Orford Cedar/Wenge 1980ish Takamine EF363 complete with irreplaceable memories A bunch of electrics (too many!!)
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#98
09-21-2021, 07:21 PM
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I agree with the wild redwood top and the wenge back, I think that is perfect, I think the other pairing was too much all at once, a guy or gal can't play it if their mind is blown!
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PS. I love guitars!
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#99
09-21-2021, 08:36 PM
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I’m with the folks who have chimed in supporting the Wenge set. It should sound wonderful and really visually feature that incredible top. Dave
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#100
09-21-2021, 08:52 PM
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That guitar is just astounding. Now it's owned by a truly awesome guy.
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Edwinson
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#101
09-21-2021, 09:01 PM
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THANK YOU, Paul, Mike, and Dave, for talking me down from the ledge! I agree unequivocally, now that you guys have talked some sense into me, the Wenge is the perfect base for that crazy Redwood top. Tonally and visually, that really works. Maybe Mark can pull off those mega-hyper super tonewood combos, but I would be a little out of my depth with something like that.
Now, I just have to decide what top to use for the wild-figure Padouk back and sides. I've been jonesing to make a guitar with that set for years now. Maybe a light tan Cedar with vivid medullaries, or a Tunnel 14 Redwood...?
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Edwinson
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#102
09-21-2021, 09:14 PM
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I agree, not many luthiers can make such an over-the-top group of woods play well together, but Mark made that guitar look beautiful, elegant, and perfectly unified in the entire concept. That takes extraordinarily keen artistic judgement, and astonishingly deft level of craftsmanship. And, did you hear, our buddy Tom B'sox is now the owner! Classy guitar for a classy dude. Applause!
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Edwinson
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#103
09-21-2021, 09:30 PM
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Ben Wilborn has bestowed both the courage and the imperative to give it a go. I have numerous iterations that I've sketched out, along with some outside-the-nine-dots bracing patterns, so why not quit the ruminating, and GIT 'ER DONE. I think it also needs a multiscale architecture, maybe 25"- 25.75" spread. And a beveled Florentine cutaway. This never gets old! I love my job!
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Edwinson Last edited by theEdwinson; 09-21-2021 at 09:48 PM.
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#104
09-22-2021, 09:21 AM
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Dustin Furlow -Award-winning songwriter/guitarist, Visual storyteller -D’Addario, G7th and K&K Sound Artist -Music on Spotify, Apple Music and YouTube: www.youtube.com/dustinfurlow -New album "Serene" (Oct '23) and tablature available at www.dustinfurlow.com
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#105
12-13-2021, 08:25 PM
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I'm bringing back this thread to show some pics of the completed Edwinson Performance SC/MS Baritone guitar. This one stands (almost) alone in my entire 21 years of building guitars, in being a multiscale Baritone, with a scale length spread of 26.75"-27.5". This could be called a short-scale baritone, as it can be strung with regular medium gauge strings, or a heavier set of Baritone strings. With Mediums, it plays great in D-Standard, down to C-standard. Baritone strings will take it down to B or A. So it's a pretty versatile scale spread, and should be awesome for either standard intervals, or any of a broad number of open tunings.
Right out of the starting gate, it has a big, airy, expressive voice, aided and abetted by the Mastergrade Cocobolo and the silky, amazingly responsive German Spruce top. It has amazing clean sustain, great evenness across the range, a large, spherical projection, and lots of overtones already developing. Just picking a simple E minor- A minor- B7 pattern sounds deep and profound! I think once it's played in a bit, this guitar will be one of my best sounding guitars ever. I wish I had been able to hang onto this guitar for awhile longer and explore everything it can do, but it was already way behind deadline, and I didn't want to make Tim wait any longer for it. He's been so patient and kind, it was important to get this guitar in his hands before the end of the year. I shipped it off to him this morning, and it is due to arrive at his front door on Wednesday afternoon. I hope it's not delayed! Here are some photos of the newly Fledged Performance MS Baritone:      This is one of the most beautiful specimens of Cocobolo I've ever seen. I'm so glad Tim chose this set for this guitar. This is his third Edwinson guitar, and he more than merits something this special.   The mosaic theme of the rosette is repeated throughout the rest of the guitar, including the segmented back inlay, the back of the neck, the heel, the end graft, and the 12th fret inlay. That mosaic mash-up at the 12th fret is meant to depict chaos resolving into order... Or, a random idea manifesting into tangible reality.   The headstock on this guitar is the Omega style, which I designed for multiscale guitars. The main functional aspect of the Omega is having straight string pull from the nut to the tuner posts. I think this improves tuning accuracy, by not dragging the strings around a divergent path. Plus, I think it looks pretty cool too. It's been very popular with my custom build clients since I designed it in 2016.    Another repeating element on the guitar is the blue Azurite stone, encircled by copper rings, inlaid into the back, the neck, and fingerboard fret markers. There are also blue purfling lines throughout. I'm very happy with the way this guitar turned out. Hopefully, Tim feels the same about it. I owe him a great debt of gratitude for his kindness, patience, and generosity, as long as I've known him. Thanks for looking, folks!
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Edwinson
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