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In the dead of winter I always seem to get the desire to do some thing different.  In this case, it was a rosette based on a 17th century viola I saw in an Italian museum three-four years ago.   The pattern is made up of elongated diamonds and rounds cut out of mother of pearl set in “mastic” (ebony dust & hide glue).

The top is Lutz spruce, five brace pattern, back and sides are American black walnut.  Mahogany neck, Ebano  fingerboard and bridge, nickel silver frets. Miller  tuners and tail.   Full French polish finish.

A petite bouche with a torrefied sitka spruce top and curly makore back and sides.   Pickguard is ebony veneer which is very similar in weight to the clear plastic variety and much lighter than the black plastic type.   Ebano fingerboard and bridge.   Nickel silver frets, Golden Age tuners and Miller tail.  Satin finish.   For Sale

Petite Bouche for David Dugas in Georgia.  European spruce  five brace top top, curly makore back and sides.   Mahogany neck, ebony fingerboard, Ebano bridge,  nickel silver frets, Miller tuners and tail.

More 100+ year old redwood for the top on this one.   Four brace top, walnut back and sides, mahogany neck.  670mm scale, Ebano fingerboard and bridge, nickel silver frets, Golden Age tuners and Miller tail.   Satin finish.   For Sale.

Model Derecho for John McNeil in Virginia.   100+ year old redwood top, curly French walnut back and sides.  Spanish Cedar neck,  Ebano fingerboard and bridge.   Nickel Silver frets, Miller tuners and tail.   French polish.

If you scroll down in this Facebook thread, you’ll find a video of John playing his new guitar shortly after taking delivery.

Based on a Joseph DiMauro bouche en coeur guitar.    Half-moon rosette, Lutz spruce top, Birdseye maple back and sides.   Spanish cedar neck, walnut spline, Ebano fingerboard and bridge, nickel silver 43×96 frets, Miller tuners, CB custom tailpiece.

I recently acquired tops from redwood trees cut over 100 years ago   It is much harder and stiffer than redwood one finds in the lumber yard today, if you can find it at all.   I run tops through a little stiffness to weight ratio test when selecting for a build and this redwood top had the highest S/W ratio of any I’ve ever tested.   The result is a very light top assembly that remains bright and lively when pushed to the limit of top deflection.   A lesser top becomes low pitched and flabby sounding.   The combination of light weight and high pitch makes for a highly responsive guitar with a lush bright sound.   That it is loud is a given.

Redwood top, laminated walnut back and sides, walnut neck, Ebano fingerboard and bridge,  670mm scale.   French polish finish.

A new Corazón, November 2018.   Lutz spruce top, Birdseye back and sides.   Mahogany neck with walnut spline.  French polish finish.    Ebano fingerboard, nickel silver frets, 660mm scale.   Custom CB tailpiece, Golden Age tuners.

 

A new Corazón for Mitchell Green in Victoria, BC.   This one is very similar to the first one (Sami’s) in tone, playability and appearance.   Lutz spruce top, Birdseye maple b/s, mahogany neck with walnut center strip.   Ebano fingerboard and nickel sliver frets.  Miller chrome tuners and Busato style replica tailpiece.   French polish finish.

My first f hole guitar, for Steve Wiessler in California.  I’ve wanted to build an f hole guitar for some time, thanks for the opportunity Steve!

Roughly based on the DiMauro Chorus design, but with my own bracing pattern and approach to the back and sides.   European spruce top, laminated curly walnut back and sides.  Mahogany neck with walnut center strip, Ebano fingerboard, nickel silver frets, Miller tuners, CB tailpiece, French polish tint and finish.