I find myself building and promoting, or is that promoting and building more maple guitars recently. I’ve really come to love this wood in its many figured varieties. Flamed or curly maple, birdseye and quilted maple all have their own unique visual characteristics. It took me a long time to warm up to the idea of maple as a guitar wood, but now I really enjoy working with it. I guess in the early days, you could say I was a bit of a purist, using only Mahogany and Rosewood. In recent years, though, I’ve become increasingly interested in using good alternative tonewoods, such as Padouk, Sapele, Honduran Rosewood and, of course, Maple.
Another appealing aspect of maple is in the range of effects that can be achieved with it. Staining can produce a wide range of appealing shades as well as traditional and non traditional sunburst finishes. For those who prefer not to mess with mother nature, you can’t beat the pure beauty of natural figured maple. It really is a very versatile wood.
Though I still use and respect Rosewood as a superb tonewood for guitars, I’m very glad to see the acceptance of these alternatives to the guitar maker's arsenal. Variety can only make this fascinating world even better!
From the first time I saw Bocote wood I was struck by it’s rich beauty. I find the colours both warm and brilliant. The contrast of the golden amber and the darker grain lines was beautifully striking.
Like many guitar makers, I am always on the lookout for beautiful or unique tonewoods. While visiting one of my favourite wood shops a while back I came across some stunning Flamed Granadillo. This wood was incredible with an amazing curly figure throughout combined with a contrasting figured white sapwood along the edge.
2 1/2 years ago Don Ross approached me asking if I would consider taking on a Harp Guitar project. Though my first inclination was to run as fast as I could in the opposite direction, I soon warmed up to the idea and was pretty excited about the challenge involved.
I've seen a lot of changes in the guitar making world since building my first instrument back in 1974. At that time there were no personal computers and the idea of a world wide web would have sounded not only amazing but the stuff of science fiction. When I started out there were only a handful of books on the subject and these were not easy to find. I did devour the few that I came across and this, besides meeting Jean Larrivee in 1975, was the extent of my access to established knowledge on the subject. I learned by studying quality instruments but mostly by trial and error.
One of the attractions of guitar building for me is the ability to create a wide range of guitars starting with one basic model. Even small detail changes can greatly alter the character of an instrument. In this talk, I’d like to show you what I mean.
As I touched on in an earlier guitar talk things have changed greatly in the realm of guitar wood choices. Not so long ago, an instrument made with a non traditional wood (something other than Rosewood, Mahogany or Maple) on the back & sides of a guitar was a rare sight.
When I started building guitars in 1974, I assumed that, given a few years of experience, I’d pretty much figure out the secrets of guitar making. It didn’t take long to realize how naive this assumption was, but by then I was hooked and it was too late to turn back.
As with many other design features on my guitars, the soundhole inlay has gone through a series of transformations over the years.
My first few instruments had a simple ring of alternating dark & light wooden strips. This was simple to execute and served the purpose and my somewhat limited skills at the time.
When I built my first guitar in1974 which, incidentally, I still have, I was under no illusions as to the quality of the finished product. In fact, I used an old set of Kluson tuners salvaged from a Gibson I had owned, thinking that I wanted to improve my skills before spending hard earned money on new machine heads.