A stringed instrument is really an interesting design problem. It has to be stout enough to stand up to string tension and player use/abuse, but light enough to vibrate freely and produce a good tone. I spend my days stripping layers of wood away in some places and building them up in others, with my experience and the knowledge of the masters before me guiding my way. (For more on the subject, click here). After bracing and voicing so many instruments over the years, you would think I would be over it, but it still is a thrill to string a new one up and hear its voice. Every day is new chance to get it right! And speaking of chances, this is the 4th (?) I’ve made for Louise in the last few years, I am grateful for the business and the relationship!
The port orford cedar top as a little spalting and mineral staining, which adds to its unique look. The pistachio back and sides, fretboard, headplate, binding and bridge come from California orchards. The old growth Douglas fir neck is salvaged from a burn pile and includes several filled bug holes.