I know what this is.

This is an instrument I built at the same time as Schizo-boy two posts back. The body is 15" across the lower bout and is 20" long. It has a 25.5" scale; the neck is 1.75" at the nut; string spread is 2.25" at saddle; 14 fret body join; orange cocobolo fingerboard, flat, bound with flame maple (my first bound fingerboard -- it was easy); mahogany back and sides; dark western red cedar top; flame maple binding; cantilevered fingerboard extension; brazilian rosewood bridge; standard martin style X-bracing. This guitar has a loud and distinctive voice, plays nicely, and is regarded by me as my most successful instrument so far.

Anyway, this buddy of mine was kind enough to play the thing last night. Per usual my tongue-tiedness prevented my explaining how useful it was to me as a luthier to (a) get the reaction of an accomplised player to my handiwork; (b) just HEAR the damned thing played well (it just don't sound the same from behind as it does out front); (c) get a handle on the requirements of an individual player for an instrument to work well for them. He was born and raised a classical player (most certainly NOT bound, however, by the conventions which plague the academic side of that pursuit), but wants to hear some of the clear, ringing harmonics of a steel stringer. He needs a neck dimensioned for a classical player, but wants more access (14-fret join, maybe a cutaway). Wide neck, but not deep. Big string spread.

By his own admission, he beats the hell out of his instruments. I'd love to just toss him this box, but that soft cedar top would be toothpicks in no time. Mahogany top? Also, he has amplification requirements. I know very little of this, but would like to learn. We agree that piezo pickups and soundboard transducers sound make your strings sound like rubber bands. Maybe one of those nifty magnetic pickup thingies that fit in the soundhole? They've grown more sophisiticated, and would sound great played clean with his amp.

These are the fascinating issues that feed my insomnia. But I cannot stop.

The past sure is tense!

I build instruments because I love music. That's either obvious on its face or requires more explanation than I'm willing to give.

Of late I've been re-discovering music I've not listened to in some years. Much of it I'd dismissed as things I'd outgrown (foolishly!), others I'd just forgotten about. A good buddy reminded me of a Bob Dylan tune I've not listened to in 15 years. Out of mind this piece has grown in depth and poignance. I was reminded that I'd turned him on to this song in the '80's (we've thrown as much music at each other in 35 years as any two people on earth), and now the favor is returned.

Do yourself a favor and, visit iTunes or google "bob dylan dark eyes" for lyrics.

What is this thing?

I finished this beast last month, in time for an art show in Nashville (thank you, Kim, Hal, John and Wendy!). I call it the schizophrenic guitar. The headstock looks like a classical; it has a heavily arched top (though it's flat), with a great big X-brace. There's a tailpiece and a floating bridge. The fingerboard extension is cantilevered, and it's got a fingerrest. But, the strings are steel and the sound hole is round, just like an ordinary flattop.

I wanted to make a tailpiece instrument with as much sustain as I could, so there's "flying buttress bracing," carbon fiber tubing running inside the box from the top of the neck block (both sides) to the back at the waist. Same thing for the tail block. I left the back thick, so this box is stiff stiff stiff!. It's a quiet instrument, but it does sustain nicely with a sweet tone, not terribly dissimilar to that of a pin-bridge flattop, but a tad more chop in the attack. And it's little -- 18" body, 13.5" lower bout, 24.9" scale, 13th fret body join.

Why did I build such an odd box? I am trying to figure that out.