#31
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Oh my Bob, that is coming out beautifully!!!!! You do like your abalone purflings (as do I)...
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PS. I love guitars! |
#32
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Thanks Tom...
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#33
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Design Process
For this project, John was kind enough to indulge me to use an alternative headstock shape to what he normally uses on his Rhapsody model (left). He is using some elements from two of his archtop models. The peghead shape he is using is one that he uses on his Artisan model (second from left). He also redesigned/scaled a version of a stylized Abalone and MOP torch that I admired in his Monarch model (third from left) to integrate onto this shape. The drawing of this new design can be seen below (right).
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#34
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I replied a little hastily before reading the last page... That's a beautiful box! Last edited by LouieAtienza; 11-11-2017 at 11:55 AM. |
#35
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In terms of Dalbergias, John has quartersawn billets of Cocobolo, EIR and HRW. He purchased this wood >20-years ago. Both Mario’s and Benoit’s BRW guitars while both beautiful were to no surprise were flatsawn. BTW, I meant to say hi again at Woodstock a few weeks back. I thought that I saw you, but you were talking to someone...
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#36
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Yeah, pretty rare to fine nicely quartered slabs of any rosewood that somehow didn't get sent out to be resawn. |
#37
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Headstock & Headplate Veneer
John was kind enough to use the simpler headstock shape borrowed from his Artisan model archtop on my custom Rhapsody. He also designed a new stylized “torch” inlay out of Mother of Pearl (MOP) and Green Abalone inlay to go with his MOP logotype in a Gaboon Ebony headplate veneer. Tom Ellis of Precision Pearl executed these inlays. The neck is still in the “rough”, but he has placed the neck, fingerboard and veneer on the body.
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#38
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Love the torch inlay, really nice work with the design and the inlay.
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PS. I love guitars! |
#39
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Once the Autumn burst goes on the top the Green Abalone top purflings will visually “pop” like the MOP/Abalone torch does against the Ebony peghead veneer. Also the headstock will have a Maple laminate showing to add some more archtop motif to the guitar’s aesthetic.
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A bunch of nice archtops, flattops, a gypsy & nylon strings… Last edited by iim7V7IM7; 12-06-2017 at 04:09 PM. |
#40
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I really like how this is turning out, Bob. And as Tom said, the torch is superb.
Steve |
#41
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On another note, I was noticing some similarities between John’s top bracing approach (right) to Jeff Traugott’s (left) in their pattern and profiling. Jeff targets a timbre favored by acoustic fingerstyle players and John targets jazz players. In my experience, this type of straight brace pattern tends to favor balance, projection and sustain. Obviously one builder uses a flat back and the other a carved back and subtle differences in dish, thickness and brace carve create sonic differences, but I just found it interesting.
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#42
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John is moving right along now in progressing my Rhapsody. Some of the birdseye figure can begin to be seen. It is beginning to look a lot like a guitar (and a beautiful one at that...)
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#43
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Jesco EVO 47104 fretwire is on. Now to decide on a bridge for the sunburst top.
African Blackwood: or Brazilian Rosewood:
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#44
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I prefer the African Blackwood bridge. Matches the fretboard. Besides, it is kind of a pain to travel anywhere with anything made out of Brazilian RW these days.
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#45
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I honestly will wait until the sunburst is applied to decide. I may end up with a ABW, BRW or Ebony bridge.
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |