"Understated elegance" best describes this custom slope dred. The pale Lutz spruce top is subtly defined by abalone purfling and rosette and tortoise celluloid binding. A simple but intricate chickadee-and-dogwood graces both the headstock and the 12th-fret position marker. The East Indian rosewood back and sides are so dark they nearly defy any attempt at photography.The sound . . . I wish you could play it. Big, robust, complex, and balanced.
Here are excerpts from what the new owner has to say:
I played until my fingers bled on Saturday and I enjoy it more with every strum. I have played guitars that sound good… I have played guitars that look good… and I have played guitars that were easy to play. This guitar is perfect blend of sound, form, and function.
Construction begins with the joining of the plates with hot hide glue. They are thicknessed and cut to shape, and the back reinforcing strip is glued in. The abalone rosette is installed and the soundhole is cut.
Bracing is laid out and installed, and the sides are bent in a heated form. Kerfed lining and the head and tail blocks are installed. The bracing is tuned for maximum tone production by careful shaping.
The top and back are glued to the ribs, and the end graft and bindings are installed.
The neck dovetail is cut and the neck is shaped and carbon-fiber reinforcing bars are installed. Fret slots are cut.
Inlay begins with a graphic, and the pattern is duplicated in mother-of-pearl and abalone, then inlaid into the rosewood headstock overlay.
The overlay is glued to the peghead. Carbon-fiber reinforcing bars are inset into the fretboard, and channels to receive them are extended into ther guitar's body. The neck is brought to its final shape. After final sanding and finishing with nitrocellulose lacquer, the guitar is assembled and the hardware is installed.