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  #31  
Old 04-19-2018, 01:34 PM
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Originally Posted by Steve Kinnaird View Post
Fabulous set of Koa there! When Doug Degenhart (sp?) quit supplying Koa, it was a godsend that Bruce Creps stepped into the gap. His wood is absolutely stellar. And in the hands of Michael, well... you'll do just fine.
It is refreshing to see this magical wood come up in a build again.
One caveat: don't let Michael tell you it's Harry's fault about anything.
(He'll know what that means.)

Steve
Thanks Steve..., Bruce definitely has some great Koa and Myrtle. It feels like after Rosewood and Mahogany guitars, I actually see more Koa guitars than I do Maple guitars in recent years. I will pass the Harry Fleishman reference back to Michael... (For those of you who don't know, CA luthier Harry Fleishman was one of Michael's early mentors).
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  #32  
Old 04-19-2018, 04:45 PM
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(For those of you who don't know, CA luthier Harry Fleishman was one of Michael's early mentors).
These days, something of a scapegoat!

SK
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  #33  
Old Yesterday, 02:21 PM
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Based on my playing style and goals for the 00-12, Michael chose a top set European Alpine Spruce (Picea abies) from Graubünden region of Switzerland that came to him from Florinett AG, Tonewood Switzerland (http://www.tonewood.ch/index.html).



Here are some shots of the Koa sides being bent. You can get a sense of the eventual figure seen in the guitar’s rims and the Honduran Mahogany neck/Venetian cutaway blocks and the Baltic Birch end block.



Here are some solid Spanish Cedar linings being fabricated to conform to the 3-dimensional tapered rims and being installed to the Koa sides.



Michael made a beautiful, simple Koa rosette using his hot sand shading of the rosette segments. You can get a sense of the contrast and figure when solvent is wiped on.

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