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  #31  
Old 04-19-2018, 02:34 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, 05:45 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 04-20-2018, 03:21 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 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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Last edited by iim7V7IM7; 04-23-2018 at 01:42 PM.
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  #34  
Old 04-21-2018, 11:12 AM
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Michael's work is never anything short of exquisite... congratulations!
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  #35  
Old 04-21-2018, 11:21 AM
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What a difference a little solvent makes, wow, nice rosette.
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  #36  
Old 04-27-2018, 08:02 PM
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Michael has routed the Koa back set and installed an Ebony backstrip with Holly purflings.



Michael uses a hybrid back reinforcement approach combine a traditional back reinforcement strip with Sitka Spruce ladder braces in the lower bout together with an x-bracing approach in the upper bout. The solid Spanish Cedar linings and Spruce side reinforcement strips can be seen. The back plate has a 25’ dish, but the braces are shaped to a 15’ radius.



Michael has begun to brace the Swiss Alpine Spruce top. The main Carpathian Spruce x-brace has been installed and carved. The UTB, tone bars, bridge plate (Sugar Maple) and finger braces in the rough have been installed on his go-bar deck. Michael has moved to a flatter 50’ dish. The x-brace and UTB are shaped to a 50’ radius but the other braces are HHG’d in place flat.

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Last edited by iim7V7IM7; 04-29-2018 at 09:25 AM.
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  #37  
Old 04-27-2018, 08:47 PM
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Love it, beautiful work!

Steve
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  #38  
Old 04-28-2018, 01:29 PM
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Sure is fun to watch the masters at work. Looking good!
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  #39  
Old 04-28-2018, 01:50 PM
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Congrats and welcome to the family! I have had mine for about 7 years now and it continues to grow and amaze me with every note! Looks like you have a beautiful guitar coming your way!
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  #40  
Old 04-29-2018, 09:14 AM
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Quote:
Originally Posted by iim7V7IM7 View Post
Michael has routed the Koa back set and installed an Ebony backstrip with Holly purflings.



Michael uses a hybrid back reinforcement approach combine a traditional back reinforcement strip with ladder braces in the lower bout together with an x-bracing approach in the upper bout. The solid Spanish Cedar linings and Spruce side reinforcement strips can be seen.



Michael has begun to brace the Swiss Alpine Spruce top. The main x-brace has been installed and carved. The UTB, tone bars, bridge plate and finger braces in the rough have been installed on his go-bar deck.

This photo is interesting because I thought Michael bashkin uses fan bracing under the x brace. Is that still the case or has he changed his bracing pattern to a more conventional one or is it just specific to this model?
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  #41  
Old 04-29-2018, 09:17 AM
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Quote:
Originally Posted by Michael Watts View Post
Michael's work is never anything short of exquisite... congratulations!
Quote:
Originally Posted by TomB'sox View Post
What a difference a little solvent makes, wow, nice rosette.
Quote:
Originally Posted by Steve Kinnaird View Post
Love it, beautiful work!

Steve
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Originally Posted by cigarfan View Post
Sure is fun to watch the masters at work. Looking good!
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Originally Posted by old6strng View Post
Congrats and welcome to the family! I have had mine for about 7 years now and it continues to grow and amaze me with every note! Looks like you have a beautiful guitar coming your way!
Thanks to all for your kind comments regarding Michael’s work and well wishes...
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  #42  
Old 04-29-2018, 09:38 AM
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This photo is interesting because I thought Michael bashkin uses fan bracing under the x brace. Is that still the case or has he changed his bracing pattern to a more conventional one or is it just specific to this model?
Like many luthiers, Michael’s approach “under the hood” (and above as you’ll see later in the build “above the hood”” with the bridge) have evolved over the last 20 years. Michael did indeed used to fan brace his instruments and employ a more domed top dish on his instruments. Over the years, his approach has shifted a bit more towards the traditional. This instrument simply reflects Michael’s current thinking. I am not exactly sure when his approach shifted, but I believe it was within the last 5 years or so. To my ear and style of play, I prefer the timbre of his current instruments over some that I auditioned in the past (e.g. 2017 vs. 2013). As in all things guitar, others might feel just the opposite...
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  #43  
Old 04-30-2018, 09:46 AM
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How would you compare bashkin's 2017 tone profile vs his earlier guitars' tonal signature?
Quote:
Originally Posted by iim7V7IM7 View Post
Like many luthiers, Michael’s approach “under the hood” (and above as you’ll see later in the build “above the hood”” with the bridge) have evolved over the last 20 years. Michael did indeed used to fan brace his instruments and employ a more domed top dish on his instruments. Over the years, his approach has shifted a bit more towards the traditional. This instrument simply reflects Michael’s current thinking. I am not exactly sure when his approach shifted, but I believe it was within the last 5 years or so. To my ear and style of play, I prefer the timbre of his current instruments over some that I auditioned in the past (e.g. 2017 vs. 2013). As in all things guitar, others might feel just the opposite...
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  #44  
Old 04-30-2018, 11:09 AM
jaymarsch jaymarsch is offline
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I think that the last time I played one of Michael's fine guitars was just about 4years ago and it was an exquisite instrument in both sight and sound. Did not know about any shift in his approach but in my experience as luthiers evolve over time and apply their expertise, the results are usually positive. This looks like it is shaping up to be another winner.

Best,
Jayne
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  #45  
Old 04-30-2018, 11:16 AM
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How would you compare bashkin's 2017 tone profile vs his earlier guitars' tonal signature?
Describing tone in words is tenuous at best. Much of it is influenced by the player’s technique and choice of musical content. I play with a heavy plectrum and my fingers and mostly jazz tunes. Someone who plays fingerstyle, DADGAD mostly in the first position would most likely have very different likes than me.

With that caveat, I find the balance of the fundamentals to overtones to be more to my liking and the overall timbre to lean more traditional on Michael’s more current instruments. Michael’s earlier guitars while balanced in their tonality to my ear were much richer in their overtone content.
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