Carved Arch-Top Jazz Guitar

The following photos show the finished guitar (finished on 15/02/2017, photos 22/02/2017).  It has been given a coat of a very slight 'Honey Blond tint' followed by about 8 coats of nitrocellulose lacquer.

I would like to thank my friend Chris Hewitt for his time and patience he provided in taking these photos which has resulted in the professional touch he has added.

At the end of the fretboard is an electronic pickup.  This then is wired under the finger-rest where you should be able to make out two small (and partially hidden) thumb-wheels for volume and tone control.  From these a wire leads into the body and links to the output jack/socket in the bottom of the guitar.  (See later)

The top is carved from spruce.

The binding around the edge is only that...it is only on the join edge of the top and sides, and the bottom and sides.  Whereas the laminated neck involves the various wood for the necks full thickness.  This provides strength and stability.

The back and sides are from 'figured maple' ('Tiger Striped')

All black fittings (except the pickup at end of fretboard) are made from solid ebony.

The suspended ebony tailpiece is only attached to the body via the loop around the endpin jack in the bottom of the guitar.  The endpin jack also serves as the outlet socket for plugging the guitar into an amp.

Head stock is covered with an ebony overlay.

The shell inlay changes luminosity and reflective colour as the light moves

Paua hair and Mother of Pearl body

Detail showing laminated neck (for strength and stability) and veneer - 'Birdseye Maple' overlay - (for purely decorative purposes)

Photo showing detail of the hand shaped 'compensated' bone nut.

 One day I hope to put on this Blog site a link to some 'sound samples' of this instrument being played.  I still have to figure out how to do this.

Sound sample played by my friend Grete Fischer

"Rio de Janeiro Blue" (4:37min)