Kinnaird SJ Build thread--Ebony/Sinker Redwood

[pappy27]

Steve;
Those details of the mitering operation are just insanely good. Trying to make a clean miter on a picture frame is hard enough. Matching up the details on that wedge is just beyond my comprehension!

Just wonderful work.

[Billy Boy]

Steve, You're building a stunningly beautiful guitar, and I really appreciate the progress pictures. I cannot wait to see it finished. And, even more, I cannot wait to read your impressions of its sound. Perhaps even an audio post or two. Congratulations on building a gorgeous guitar.

[Steve Kinnaird]

Pappy, I've done some picture frames, and I know just what you're talking about. They are difficult, perhaps more so than this little bit of guitar trim.

Billy Boy, I appreciate the feedback. I will try to get this guitar recorded.
Danny Brevard (Acoustic Pro Musician) is only 15 minutes away, and he has some more than suitable recording equipment. Perhaps I can twist his arm...

Thank you gents for your very kind words!

Steve

[cpabolting]

Steven

When Jim Olson built my guitar, he put in the end wedge as one of the first things he did before the soundbox is together. I don't suppose it matters in the end what order you do it....thoughts on the timing of when to do it?

[Steve Kinnaird]

Keith, yes I do have some thoughts...but if you let this get out, I'll have to disown the comments (or break your fingers).
I wait until the box is closed before routing for the butt wedge to make utterly sure that the wedge lines up with the back seam. There...I've said it. It is possible for the back to drift a wee bit in glue up--don't ask me how I know--and this particular timing is a little bit of insurance for me.
Does that make sense?
It is easier, and safer, to inlay it before the back and top are glued on.
But I've been doing it this way for some time now, and being a creature of habit.....

Steve

[naccoachbob]

Steve,
It's looking great. If anyone asks about backs "slipping" tell them I told you about it from my mistake. Although it was just a wee bit.
How long before you ship it out to be finished? I'd like to come by and peek at if that's ok.
Bob

[Coke_zero]

I love ebony guitars. They are probably my favourite guitars visually along with ziricote. That's going to be nice instrument.

[Steve Kinnaird]

Bob, thanks for the kind word. We're going to try to ship it out either Monday or Tuesday.
Of course, it will be coming back in a few weeks, all shined up.
Give us a call.

Coke, thank you as well. And by the way, I've been enjoying watching your guitar come along. Good job on the rosette!

Steve

[Earthworm]

That wood is gorgeous!

[Chris Wood]

Steve, that's a terrific looking guitar. I do the end graft exactly the same way, I suspect others do as well.

Chris.

[WhistlingFish]

Steve, the quality of your work is first class and I just love the black and red purfling in one of the earlier photos!

Being cautious by nature, I've stayed away from any of the ebonies because they're known to be brittle. In your experience, what's it like to work with? Do you work it a little thinner to make bending easier?

[naccoachbob]

I got to go by Steve's today to see the Ebony/Sinker and a parlor he's doing with maple. Both are gonna be stunners. I had looked at these pictures online and focused on the back and the headplate, totally missing the effect of the sides. They are really looking good. The maple parlor has a pair of wonderful sides too. Can't wait to see them. They are definitely going to shimmer with finish on them.
Steve, thanks for letting me come by. Gonna be some show stoppin' in Miami.

Bob

[Steve Kinnaird]

Tim, Chris, thanks mates!
Pete, thanks to you as well. Yes, I did take the ebony a little thinner, and then realized on the iron that I should have gone thinner still. It's tough stuff. It bent alright, not as stubbornly as Padauk, but that's slender comfort.
Bob, always glad to have you swing by. Thanks for the kind words. Your mahog dreadnaught has some beautiful woods as well!
(Bob brought his first effort by today and we got to ooh and ahh, as well as thump on it. It's gonna be loud. Good work, Bob!)

Steve

[theEdwinson]

Originally Posted by Huckleberry

I've only had significant experience with two ebony guitars (hard to come by here in the UK), my Hamblin GC and a much larger Greenfield G4, both with spruce tops. Very different guitars, but some common characteristics.

Ebony seems to be similar to rosewood in rich overtones, but has far less inherent sustain (I guess it 'rings' less).

This seems to translate to fantastic clarity and string separation for fingerstyle, and a very precise bass response with no tendancy to muddy up even when playing complex bass voicings. Probably a bit firmer high-mid than most rosewood guitars - my fiancee described it as 'lyrical'.

The useful dynamic range of my Hamblin is wider than any other guitar I've played - right from barely touching it, it just gets louder and louder as you dig in without breaking up or becoming harsh. It's a very linear response too. I noticed this characteristic on the Greenfield too - one of the most powerful guitars I've ever played, but perhaps not quite as sensitive to a light touch.

I will say that ebony will reveal any flaws in your technique - when you get it right it sounds beautiful but the clarity and dynamic range are challenging to exploit. You've got to work on bringing out the melody in your voicings, because of the linear response you need to be right on, not just near with your touch. And any flaws in fretting, hammer-ons or pull-offs that may be glossed over by a more 'ringy' back will be revealed in all their unpleasant glory.

Overall, I love it. It makes you work hard, but the results are beautiful when you learn to control it.

Everything you said, and more...
Some guitars have that magisterial aura, where you're almost afraid to touch them, if you haven't got the skills of a master. I can well imagine how an ebony guitar, made by a master, would have that kind of exclusivity.
I think there are several various species of ebony that can make the most honest and direct teachers, as instruments for committed players. I agree that a fine guitar with ebony back and sides can be a challenging ride, like a finely tuned sports car, but if your technique and approach have authority, you can speak your word with stentorian authority.
Black Ebony is a not a much used back and side wood, because it exists in such sparse amounts, and is so rarely cut to form for guitars. However superlative it is, Ebony has gone stealth, as the rosewoods have gone public for so long a time.
As you read above, this is not a spongy, bouncy kind of wood. This is a wood that brings a keen edge to your music. In the ever-evolving nomenclature of lutherie, I would call a well-built, smartly designed ebony guitar a KATANA.
There is an element of danger in playing a well-made one of these. You may never be fully satisfied with your current ride. Either you are equal, or not. The guitar itself will decide. And choose your maker wisely. All of the Ebonies, used in guitar making, are not to be treated lightly. Jus' say'n. -edwinson

[Steve Kinnaird]

A few progress shots:

1st, installing the pale red abalone purfling, piece by piece. You can see the trench formed by pulling out the teflon strip, and the partial progress.





And a shot of the trench filled with the pearl.





Another one, after the top is cleaned up a bit:





Thanks for looking,

Steve