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#46
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Michael has created a contrasting end graft for the guitar. The dark pieces of wood are Gaboon Ebony, the white purfling lines are Holly and the small triagular pieces are Koa. The deep pores in the Koa can also been seen here.
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ACOUSTIC FLAT TOPS by: Michael Bashkin | Mark Blanchard | Laurent Brondel | John Buscarino | Kent Chasson | Howard Klepper | Bruce Sexauer |
#47
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Nice!!! That looks awesome--assuming the headstock is following this theme, it will look incredible as well.
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Brazzie (Rio Lava)--2015 Stehr Auditorium (Adirondack / BRW) Tigger--2013 Stehr Auditorium (Carpathian / Oregon Myrtlewood) Melee--Razo 19 OM (German / Malaysian) Dana--1999 Bourgeois OM (Sitka/EIR) Nemo--2009 Taylor Custom GS (Sinker/Macassar) GONE, but still in the family |
#48
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ACOUSTIC FLAT TOPS by: Michael Bashkin | Mark Blanchard | Laurent Brondel | John Buscarino | Kent Chasson | Howard Klepper | Bruce Sexauer |
#49
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Are you selecting ebony/koa accent for the headstock top plate as well? I think that would look incredible! I see now how the backstrip ties it all together...
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2020 Michaud OM-R TBD (build) 2019 Bashkin OM-MS Swiss Moon/Guatemalan Rosewood (build) 2018 Michaud J-R Sitka/MBW 2018 Martin M-36 (R) Sitka/EIR 2017 Bashkin 00-12 Adirondack/Mahogany 2016 Bashkin GC-12 Sitka/Koa 2015 K. Yairi RF-120 Spruce/EIR 2013 Carter-Poulsen J Model German Select Spruce/Macassar Ebony 1979 Yamaha G-231 Cedar/Mahogany |
#50
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ACOUSTIC FLAT TOPS by: Michael Bashkin | Mark Blanchard | Laurent Brondel | John Buscarino | Kent Chasson | Howard Klepper | Bruce Sexauer |
#51
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Oh, that's a really lovely choice now that you describe it - the headstock binding picks out the back strip and endgraft, and macassar ebony veneer will have figuring and tonal (in the color sense) values to create the visual interest to draw the eye to the headstock. Did you elect to put a pinstripe or purfling strip down the back of the neck?
I really love the macassar ebony on my Carter Poulsen - it's what drew me to it in the first place - so now I'm dying to see the outcome on your build!
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2020 Michaud OM-R TBD (build) 2019 Bashkin OM-MS Swiss Moon/Guatemalan Rosewood (build) 2018 Michaud J-R Sitka/MBW 2018 Martin M-36 (R) Sitka/EIR 2017 Bashkin 00-12 Adirondack/Mahogany 2016 Bashkin GC-12 Sitka/Koa 2015 K. Yairi RF-120 Spruce/EIR 2013 Carter-Poulsen J Model German Select Spruce/Macassar Ebony 1979 Yamaha G-231 Cedar/Mahogany |
#52
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ACOUSTIC FLAT TOPS by: Michael Bashkin | Mark Blanchard | Laurent Brondel | John Buscarino | Kent Chasson | Howard Klepper | Bruce Sexauer |
#53
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Looks good!
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You don't stop playing when you get old, you get old when you stop playing! Fender DG5 natural Tanglewood Discovery Super Folk DBT SFCE TBL Tanglewood TU13M ukulele Deacon A style mandolin Jose Ferrer Estudiante Classical Brunswick BU4B baritone ukulele |
#54
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How did I miss this build thread until last night? What a beauty! Love the woods and design features, and it should be super comfy, too.
Have fun! Paul
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#55
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Looking great! That end graft is a work of art. The Rodgers tuners are the right touch. I've always wanted a set of those on one of my guitars.
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#56
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Really nice Bob. Great theme. Will certainly be one of a kind.
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#57
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ACOUSTIC FLAT TOPS by: Michael Bashkin | Mark Blanchard | Laurent Brondel | John Buscarino | Kent Chasson | Howard Klepper | Bruce Sexauer |
#58
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Michael is moving right along on the guitar. He has applied shellac to the back and sides to slow down the water vapor transmission rate into the Koa (a stable wood that likely doesn’t need this but boy does it look good!). Michael also likes to cap his upper bout back x-brace with a body wood cap. It looks like this guitar is #155 for Michael.
![]() Here is a shot of the completed top and back/sides reflecting Michael’s traditional approach to top bracing that he is currently using on his guitars together with his hybrid approach to back bracing. The top is signed and the box is now closed and can be seen on his go-bar deck. ![]() ![]() ![]() The body binding/purfling channels have been routed (top).The beautiful Koa back is beginning to reveal its figure without finish and the contrasting Ebony/Holly backstrip floats among the curl (bottom). ![]() This is a neat sequence of photos illustrating Michael’s approach to creating a Florentine cutaway binding channel. ![]() This image montage shows the creation of a Gaboon Ebony/Holly/Koa segmented end graft. ![]() Lastly, we made a decision on the neck to go with a one-piece Honduran Mahogany neck and Michael is thinking about an interesting 12th-fret marker inlay for the fingerboard (tbd).
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ACOUSTIC FLAT TOPS by: Michael Bashkin | Mark Blanchard | Laurent Brondel | John Buscarino | Kent Chasson | Howard Klepper | Bruce Sexauer Last edited by iim7V7IM7; 05-06-2018 at 05:33 PM. |
#59
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This is a neat sequence of photos illustrating Michael’s approach to creating a Florentine cutaway binding channel.
![]() Having done some wood working in the past, it blows me away that a hand chisel can be used across the grain like this and get a nice neat coil of wood and a clean result. I know he scored the wood to mark the channel first, but the cross grain wood just is hard for me to fathom. Sure shows a true master at work! The Koa is looking great Bob!
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#60
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ACOUSTIC FLAT TOPS by: Michael Bashkin | Mark Blanchard | Laurent Brondel | John Buscarino | Kent Chasson | Howard Klepper | Bruce Sexauer |