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  #106  
Old 06-21-2019, 12:59 PM
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Burton LeGeyt Burton LeGeyt is offline
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With the 2018 date in the title I think this may qualify as a vintage thread!

I finished up the mahogany guitar in time for the Artisan show and then got to hang onto it for a few months before its new owner was able to collect it. He flew in from Germany the other day and I was able to hand it off last night. A wonderful experience!

I also set up the portable studio and took some final shots, I'll share those here.

Some takeaways for me:

Oil varnish is a super pain but seems to be worth it. It took a while to fully cure, and I _think_ I could hear that as it hardened. More so because I pushed it and buffed it out sooner than I normally would. I'll be happy to offer it as an option going forward

This guitar was meant to complement a larger guitar of mine already owned by the customer. To that end I "traded" strength between bracing and the top plate- Beefing up the soundboard a bit and pulling back slightly on the bracing. If that is what gave me the sound then it did what I assumed it might. A little throatier, a tiny bit slower, and smooth. A joy to play! And I got to have it in the shop for a few months before it left, a rare treat for me.

I'm super into the subtle details. I had a snakewood board that had some color shifts in it and it became clear as I was working with the Cuban Mahog that those color changes could work really well. I needed to ever so slightly tint the mahogany but it really did tie in well. And the complexity of the rosette isn't obvious unless you really look at it. Its there, and you can look for and find it, but it doesn't shout out at first glance.

I've been thinking of my guitar design as analogous to picture framing, a profession I worked in for many years. The frame has a specific job to do and fails if it starts to compete in any way with the artwork. When I'm designing a guitar I've been thinking more of how it will look being played, and imagining the player holding it helps me think about how it might look and be observed. I still make fancy guitars, of course, and sometimes they do work as standalone designs- This one, though, I think is pared back enough to work in a complementary way with the player. And I like that, and measure the success of this design with how "simple" it appears.

Anyway, here are the studio shots. Slightly different ones in Facebook and Instagram if you are interested.

CL0736 front whole by Burton LeGeyt, on Flickr

CL0736 down front on ground by Burton LeGeyt, on Flickr

CL0736 back 3-4 close by Burton LeGeyt, on Flickr

CL0736 neck joint by Burton LeGeyt, on Flickr

CL0736 headstock by Burton LeGeyt, on Flickr

CL0736 end graft2 by Burton LeGeyt, on Flickr
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  #107  
Old 06-21-2019, 01:03 PM
BenjaminPaldacci BenjaminPaldacci is offline
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I have no words... Oh well, I have tons of qualificatives, it is just impossible to chose.

Exquisite work, Burt!
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  #108  
Old 06-21-2019, 01:06 PM
ruby50 ruby50 is offline
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Perfectly understated

Ed
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  #109  
Old 06-21-2019, 02:13 PM
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Stunning as usual!
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  #110  
Old 06-21-2019, 03:00 PM
Carey Carey is offline
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That's beautiful work.
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  #111  
Old 06-22-2019, 07:21 AM
GeoffStGermaine GeoffStGermaine is offline
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Wow - so many beautiful things about that guitar. The understated back binding is perhaps my favourite part, but the neck finish also stands out as exceptional.

Is the neck coloured using an ebonizing process?
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  #112  
Old 06-22-2019, 07:59 AM
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Not only do your guitars have a style all their own, but they are among the best sounding in the world. There’s a reason he’s now listed as one of the handful of luthiers that Luthier’s Collection represents.

That guitar is outstanding, Burton. Classy and unique all the way. Makes me want to order a Swiss spruce and mahogany CLM.
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  #113  
Old 06-22-2019, 08:25 AM
KingCavalier KingCavalier is offline
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Gorgeous, I always wanted a LeGeyt.
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  #114  
Old 06-22-2019, 09:33 AM
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Your Cuban Mahogany CL looks fantastic Burton. I remember talking to you 8-9 years ago, but still haven’t had the opportunity to see your or hear your work in person. Still looking forward to that.
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  #115  
Old 06-22-2019, 09:45 AM
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Elegant Burton. I like the back “non-”detailing. Always a pleasure to see your stuff.
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  #116  
Old 06-22-2019, 10:09 AM
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I am way late to this thread, but just knocked out by these beauties!!!

Burton, when you say "Shop made" for the truss rods I am wondering if you make them yourself?

The geometry involved is way more complicated than most folks realize, I figure.

Carry on and have a FUN summer

Paul
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  #117  
Old 06-22-2019, 11:02 AM
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Burton LeGeyt Burton LeGeyt is offline
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Thank you everyone! I appreciate all your comments

I'll respond to questions in subsequent responses-

I also realize I forgot to add a pic of my favorite part. Posted before, but not under finish so....

CL0736IG rosette by Burton LeGeyt, on Flickr
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  #118  
Old 06-22-2019, 11:07 AM
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Burton LeGeyt Burton LeGeyt is offline
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Quote:
Originally Posted by GeoffStGermaine View Post
Wow - so many beautiful things about that guitar. The understated back binding is perhaps my favourite part, but the neck finish also stands out as exceptional.

Is the neck coloured using an ebonizing process?
I've seen a lot of people use a process that includes some combination of vinegar and iron, and that is not what I am doing here. That does look very cool but I want a little more control over the color and am not actually looking for a complete black. I've been using African blackwood in many cases as the fingerboard binding and am looking to stain the spanish cedar to visually match that, where there is some brown in direct light.

I'm using a transtint combination of dyes and in non direct light the neck appears black but in direct light there is color underneath, brown's and deep amber colors. In some light it is almost a deep purple- just like I sometimes see in the African Blackwood.

Over that is a rubbing varnish. Different than what goes on the body but tough and, once fully cured, very very fast on your hand. I think the lack of pore fill helps there- and the contrast between the smooth glossy body and open pore neck is something I really like. The open pores make it feel like it should be touched, I think,
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  #119  
Old 06-22-2019, 11:09 AM
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Burton LeGeyt Burton LeGeyt is offline
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Quote:
Originally Posted by justonwo View Post
That guitar is outstanding, Burton. Classy and unique all the way. Makes me want to order a Swiss spruce and mahogany CLM.
Hmmmmmm. If only there was a way to do that............

If you do order it I'll be sure to get Ed's input too. You know, just in case
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  #120  
Old 06-22-2019, 11:13 AM
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Burton LeGeyt Burton LeGeyt is offline
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Quote:
Originally Posted by ChuckS View Post
Your Cuban Mahogany CL looks fantastic Burton. I remember talking to you 8-9 years ago, but still haven’t had the opportunity to see your or hear your work in person. Still looking forward to that.
Chuck, I remember that! Was it really that long ago??

I used photos of your Poling when showing the customer for this guitar what to expect with the Cuban- I probably mentioned that earlier in this thread already.

I actually just sent a guitar to Minneapolis yesterday- An older one of mine I had back in my shop but for sale by the owner. Off on a trial basis but it's a great guitar, I kind of expect it will stay.

PM me and I'll see if you know the person
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