My Finest Axes
I love fine instruments. Subjectively, I feel I both play and sound better on them, Without question, a good one brings far greater pleasure to me when I pick it up. There is pleasure to be gained in just looking at them. But I am a player, not a collector or investor. Nor am I rich; I use these, I gig with them. This is what they were made to do and if they get a blemish in the process, I'll shed a tear, then get on with business.
I am happy with these and can endorse the sound and workmanship of the luthiers who made them. By the same token, I am well aware that there are many other luthiers out there who are equally good. No one has a corner on the market. And that include "boutique" builders and the better manufacturers.
Note: I have many others, vintage, mostly in the banjo and mandolin families. The ones below were all made within my lifetime, so we can't call them vintage yet (or so I hope).
I am happy with these and can endorse the sound and workmanship of the luthiers who made them. By the same token, I am well aware that there are many other luthiers out there who are equally good. No one has a corner on the market. And that include "boutique" builders and the better manufacturers.
Note: I have many others, vintage, mostly in the banjo and mandolin families. The ones below were all made within my lifetime, so we can't call them vintage yet (or so I hope).
Nikos Apollonio 12 string, 2011
Port Orford Cedar top, Myrtle Back and Sides, Maple neck make this pretty much a US-based show. I feel the POC/Myrtle combination is a good one for a 12 string as it allows a classic 12 string sound without muddiness. Of interest, there is a sound port (happy with it!), and an Ipe fingerboard and bridge, along with a trapeze. The trapeze allows the strings to exert their pressure on the butt, which is far stronger than the top. In turn, this allows a thinner, more responsive top. Though not in vogue, it's not a new idea; Leadbelly's Stella had the same. There are other interior innovations, one of which allows quick adjustment of the action. Thin artificial pearl around the top and the rosette really sets it off. Fingerboard markers are found only on the edge, allowing them to be seen from both top and side. Plays and sounds like a 12 string should; Nick's made a lot of them.
Port Orford Cedar top, Myrtle Back and Sides, Maple neck make this pretty much a US-based show. I feel the POC/Myrtle combination is a good one for a 12 string as it allows a classic 12 string sound without muddiness. Of interest, there is a sound port (happy with it!), and an Ipe fingerboard and bridge, along with a trapeze. The trapeze allows the strings to exert their pressure on the butt, which is far stronger than the top. In turn, this allows a thinner, more responsive top. Though not in vogue, it's not a new idea; Leadbelly's Stella had the same. There are other interior innovations, one of which allows quick adjustment of the action. Thin artificial pearl around the top and the rosette really sets it off. Fingerboard markers are found only on the edge, allowing them to be seen from both top and side. Plays and sounds like a 12 string should; Nick's made a lot of them.
Ipe fingerboard, artificial pearl in the rosette
Ipe bridge and trapeze
Myrtle back and sides, stunning color and figure.
____________________________
James Goodall jumbo, 2005
My first Port Orford Cedar top and an amazing fiddleback mahogany back, quilted mahogany sides sides, mahogany neck. The story is that James found this mahogany in a small stash from an old fellow in Arkansas and there was just enough wood for the back. He knows of no other instruments made from this wood. Ebony fingerboard and headstock cover. Rosewood bindings. Projects well, good deep sound for a mahogany instrument, equally clear in all registers, adequate sustain - and absolutely impeccable fit and finish. And, what's more, the Port Orford Cedar always gives out this great gingery smell.
____________________________
Mark Hatcher "Josie" small jumbo, 2017
Extreme bearclaw Sitka Spruce
Features EVO frets, a soundport, carved headstock and custom orchid inlay. Back and side woods are "bacon" Padauk and the top is an extreme bearclaw Sitka Spruce. Bridge and fretboard are Macassar Ebony and the binding is African Blackwood. It has a big, open and enveloping sound, nicely balanced. The sides are layered inside with maple; the neck is a figured maple.
|
"Bacon" Padauk
|
Carved "pillow" headstock w/orchid inlay made from pearl and clamshell. Note how the trussrod cover has all but disappeared.
|
|
Padauk is on both sides of the headstock. Specially made Macassar Ebony tuner knobs match the fingerboard and the bridge.
|
____________________________
John Kinnaird 12 fret 000, 2006
This was my first guitar build and it was so fun planning this one with John. Adirondack top, lots of abalone, D45-kind of stuff, including the intertwined Celtic dogs on the headstock and Celtic knots for position markers. Ziracote back & sides, headstock cover (both sides) and bridge. This Ziracote has more reds than the grays and greens often associated with it; it's fooled some knowledgeable people into thinking it was Brazilian. Ebony fingerboard and curly ash neck and appointments. Except for the ziracote, it is All-American. Come to think of it, that's American as well, just not from the US. Lots of overtones and a depth to it, good sustain, plays easily. Easily the prettiest instrument I may ever own. While well balanced, it is not particularly light. These are all among the heavier woods.
Ziracote/abalone rosette, Ziracote pyramid bridge
Closeup of the ziracote. Curly ash binding.
Closeup of the curly Ash 5 piece neck. The laminations are Ziracote and they mask graphite rods which are inside.
___________________________ Harvey Leach "Arctos" Cremona, 2016
Features EVO frets, a sound port, and the "Voyage-Air" folding neck. The top is an amazing Millenium Sequoia, the back and sides Macassar Ebony with a Lacewood end graft. The neck is Peruvian Walnut with Sapele stripes. 25.625" scale. Warm and subdued, it speaks well in lower tunings and tuned there exhibits a sound reminiscent of a resonator guitar. Clear note separation allows it to shine when played faster. Oh yes, the neck folds to make it a full size travel guitar.
Features EVO frets, a sound port, and the "Voyage-Air" folding neck. The top is an amazing Millenium Sequoia, the back and sides Macassar Ebony with a Lacewood end graft. The neck is Peruvian Walnut with Sapele stripes. 25.625" scale. Warm and subdued, it speaks well in lower tunings and tuned there exhibits a sound reminiscent of a resonator guitar. Clear note separation allows it to shine when played faster. Oh yes, the neck folds to make it a full size travel guitar.
|
|
|
Sequoias are protected trees and are not normally harvested. The Millenium was a huge tree that sat on a college campus, it's center filled with cement. When it finally had to be taken down, it was discovered that the minerals in the cement had given the tree this amazing hue and it's immense size contributed the figure.
|
|
|
________________________
David MacCubbin OM, 2007. German Spruce top, Birdseye maple B&S. The sides are laminated (40/1000 each) with Rosewood for additional stiffness. Bloodwood fretboard, tuner knobs and bridge, Shaller tuners. It's unlike me to purchase an instrument with so bland a back and sides, but, let's say, it spoke to me. And it has a different sound than you might expect with maple, very present and open, not strident or harsh, and harmonics that will make you sit up abruptly and take notice. Koa binding, headstock overlay and rosette (abalone added). |
____________________________
Roy McAlister Baritone, 2008-2009
Adirondack top, radically figured Bubinga back and sides, mahogany neck, Brazilian bindings, ebony fingerboard and bridge. The Bubinga is a good choice for a deep-sounding instrument as it allows good tonal separation. Wonderful deep sound, tunes easily B to B, and plays like a dream. There is no break in the register like you often hear. It stays the same all the way up; the notes just get higher without changing timbre. Concert body size is comfortable to hold and I don't feel it suffers projection from having the smaller body. Celtic knot inlays on fingerboard. Fit and finish is superb, as you might expect. Problems developed in 2 spots with finish delaminations, but have been taken care of now.
This Bubinga is riotous. My wife says it looks like the inside of someone's stomach, but then she's a nurse. It's wood to stare at. You can see layers and layers of stuff to see inside it, mostly reds but also greens and grays hidden inside.
______________________________
Rodrigo Moreira Classical, early 2000's (since sold)
Made with an Alaskan Yellow Cedar top, and a wonderful smell always awaited me when I opened the case. East Indian Rosewood back and sides, mahogany neck. Beautifully appointed and with a HUGE voice that belies it's small size, easily as loud as my jumbo. I never could get used to the wider fingerboard and higher action of a classical guitar, so have played it rarely. It deserves an owner who plays classically, because it's a truly fine instrument.
_____________________________
Keith Young Autoharp, 1980's
This was the first build I had made. I was unable to find an autoharp that I liked; few few factories make them and those were mostly lower end. So I interviewed a series of luthiers and selected Keith Young. Spruce top and curly Maple back and sides. Reinforced by graphite rods and with removable chord bars, this autoharp looks traditional but is a radical departure in it's set-up. Nearly fully chromatic (there is no G# or D#), some strings are doubled, others aren't. Yet it sounds normal. Plays in 3 keys, 3 octaves. It's received a lot of attention from audiences over the years.
