Month: February 2018

The LC model was developed in collaboration with the great jazz guitarist Larry Coryell. He needed a flat top guitar that had a strong, clear midrange and high end response, without boominess in the bass. Furthermore, it had to have a loud, full acoustic tone, but still be capable of amplification with a piezoelectric pickup with better feedback control. Larry wanted to be able to perform on stage in a group with the guitar, and also be able to record with it in the studio. By using a combination of “X” and parallel bracing, as well as an elliptical soundhole, the LC enhances the power of the mid and upper ranges of the tonal spectrum.

SPECIFICATIONS

• Scale Length: 25 ,25 1/2″
• Body Width (Lower Bout): 15 1/8″”, 16 ”
• Body Length: 20 1/4”, 20 1/2”
• Overall Length: 41”
• Side Depth @ End Block: 4 1/8”, 4 1/4”
• Neck Width @ Nut: 1 11/16” or Custom
• Soundboard: Sitka, Adirondack, or German Spruce
• Back and Sides: Curly Koa, Curly Maple, Indian Rosewood
• Fingerboard: Ebony
• Bindings and Purflings: Black or “Ivoroid” plastic, or optional wood
• Tuning Machines: Schaller
• Pickup/Preamp: Optional
• Bamboo fingerboard inlay: optional

The Kaulua model nylon string is a double soundhole, expanded soundboard guitar. It features an extended cutaway design, allowing access to high frets. The area of the two soundholes is similar to that of a conventional classical guitar, but this design splits the hole and moves it into the upper bout so that a larger, uninterupted area of the soundboard can vibrate. The transverse brace, usually located just behind the soundhole in front of the bridge, can be moved up to the end of the fingerboard, effectively “openning” up the tone producing potential of the soundboard. This makes it possible for the bass response of a larger guitar to be acheived in a smaller one, while maintaining a strong treble response. The proximity of the bass side hole makes the sound of the guitar much fuller and louder to the player.

The Kaulua model, like the Beamer, is a double-soundhole, expanded-soundboard guitar. It features an extended cutaway design, allowing access to the high frets. The area of the two soundholes is similar to that of a conventional round hole guitar, but this design splits the hole and moves it into the upper bout so that a larger, uninterupted area of the soundboard can vibrate. This makes it possible for the bass response of a larger guitar to be acheived in a smaller one. The proximity of the bass side hole makes the sound of the guitar much fuller and louder to the player.

The Beamer model nylon string is a double soundhole, expanded soundboard guitar. The area of the two soundholes is similar to that of a conventional classical guitar, but this design splits the hole and moves it into the upper bout so that a larger, uninterrupted area of the soundboard can vibrate. The transverse brace, usually located just behind the soundhole in front of the bridge, can be moved up to the end of the fingerboard, effectively “openning” up the tone producing potential of the soundboard. This makes it possible for the bass response of a larger guitar to be achieved in a smaller one, while maintaining a strong treble response. The proximity of the bass side hole makes the sound of the guitar much fuller and louder to the player.

SPECIFICATIONS

• Scale Length: 25 1/2”, 26″
• Body Width (Lower Bout): 14 1/2”
• Body Length: 19 1/4”
• Overall Length: 39”
• Side Depth @ End Block: 3 3/4”
• Neck Width @ Nut: 2” or Custom
• Soundboard: Cedar or Redwood (European Spruce Optional)
• Back and Sides: Curly Koa, Curly Mango, Curly Walnut, Mahogany, Indian Rosewood.
  Brazilian Rosewood available on request – please inquire
• Fingerboard: Ebony
• Bindings and Purflings: Maple, koa, rosewood, bloodwood
• Tuning Machines: Gotoh 510 with black anodized aluminum rollers, or custom
• Pickup/Preamp: Optional

This double sound hole guitar was originally designed for and made popular by Keola Beamer, the great Hawaiian slack key artist. It has an astounding capability to produce a deep, rich tone with a bass response previously unattainable in a similarly sized body. By moving the soundhole away from the end of the fingerboard, a larger area of the top can be utilized to achieve a bigger sound overall. The transverse brace, usually located just behind the soundhole in front of the bridge, can be moved up to the end of the fingerboard, effectively “opening” up the tone producing potential of the soundboard. Available in “OM” (15 1/8″ wide), and Concert (16 wide) sizes, the Beamer model is great for players who like a deep bass, especially those playing “slack key” style or using tunings with “D” or “C” in the bass.

SPECIFICATIONS

• Scale length: 25”, 25 1/2”
• Body Width (Lower Bout): 15 1/8”, 16″
• Body Length: 19 3/4”, 20 1/4”
• Overall Length: 40 1/2”, 41″
• Side Depth @ End Block:4 1/8″”, 4 3/8”
• Neck Width: 1 3/4” at nut or custom
• Soundboard – European spruce, Engelmann spruce, Sitka spruce, or koa
• Back and sides – Curly Koa, Mahogany, Indian Rosewood, Curly Maple, Walnut.
  Brazilian Rosewood available on request – please inquire
• Fingerboard: Ebony
• Bindings and Purflings: Black or “Ivoroid” plastic, maple, koa, rosewood, bloodwood
• Tuning Machines: Gotoh 510, or custom
• Pickup/Preamp: Optional

As its name implies, the nylon string archtop combines the tone, playability and aesthetics of a nylon string flat top guitar with a traditional archtop guitar. Instead, it has a warm and woody tone, very open and full-bodied, but also has the punch and drive that acoustic archtops are famous for. In my opinion it works best with a 14 fret neck, but I have built some very nice ones with 12 frets to the body. The overall construction is very light, with the Engelmann spruce soundboard at approximately 4mm thick under the bridge. The X brace is also much lighter and voiced to achieve the loudest and fullest tone with the spruce top. The unbound f-holes can be any of the shapes I use that the customer prefers. The tailpiece is made of ebony with a tie-block design. Available body sizes are 14″, 14 ½”, 15″ and 16″. Because of the lesser tension of nylon strings, body sizes larger than 16″ are not an option. Neck dimensions are as per customer’s preference. However, because of the lesser tension of nylon strings, body sizes larger than 15″ are not recommended.

The Montreux model derives its name from the Swiss town on Lake Geneva that plays host annually to the world famous jazz festival. It is also the area where some of the finest tonewoods in the world are produced. This model has the classic lines of a traditional orchestra jazz arch top, while utilizing modern advances in acoustic arch top voicing and tone engineering. Only the finest aged, very highly figured tonewoods are used in this model, including seasoned European White or Silver Spruce, German Maple or English Sycamore. The selection of these woods plays an important role in the production of a rich, well balanced tone. Because of their well-deserved reputation for being the best sound transmitting woods in the world, and because of their high demand for use in fine instruments, these woods have become increasingly scarce in recent years.

The Montreux has a remarkably full, lively response and is recommended to those seeking that extraordinary acoustic arch top sound. Other features include streamlined shaped “F” holes, suspended pickguard, carved ebony and gold tailpiece, and scalloped fingerboard end. Available in 16″, 17″, and 18″ body sizes, cutaway or non-cutaway.

Originally, the arch top instrument was designed by such early pioneer luthiers as Orville Gibson and Lloyd Loar to compete acoustically with the much louder band instruments like the horns and reeds before the days of electric pickups. The arch top design was capable of projecting a clearer sound with greater volume than its flat top predecessor. Designed for the acoustic jazz guitarist, the “Rose” model has a well defined, ringing tone rarely found in an arch top. It is a versatile performing guitar with a powerful projection and a clear voice making it an excellent guitar for both concert and studio work.

Pictured here is the “Rose” model with the Venetian cutaway. This model is also available with an oval sound hole instead of two “f” holes. In this soundboard design the guitar has a much mellower, deeper bass response, closer to that of the flat top, while retaining that punchy mid and high range particular to arch top instruments.

SPECIFICATIONS

• Scale Length: 25 1/2″
• Body Width (Lower Bout): 16″, 16 1/2″, 17″, 18″
• Body Length: 20 3/8″, 20 7/8″, 21 1/4″
• Overall Length: 42″, 42 1/2″, 43″
• Side depth: 2 3/4″-3″
• Neck Width: 1 11/16″ @ Nut, 2 1/4 @ 21st Fret, or Custom
• Soundboard: German, Engelmann, or Sitka Spruce
• Back and Sides: Curly Maple
• Cutaway: Venetian (pictured), Florentine, or Non Cutaway
• Fingerboard,Pickguard,Bridge,Tailpiece: Ebony
• Tuning Machines: Schaller
• Electronics / Pickup: Optional

Both acoustically and aesthetically, the Jazz Nouveau is a departure from traditional arch top guitar construction in that it incorporates a “flat” back similar to a standard steel string guitar while still utilizing the carved arched top. This guitar bridges the gap between flat and arch top guitars in its ability to produce the bass response found in flat tops, while retaining the crispness and clarity found only in arch top guitars. By varying the depth of the sides, thereby increasing or decreasing the overall volume of air inside the body, the guitar can be custom built to suit the customer’s needs for depth of bass response

The Nouveau has an extended “Selmer Maccaferri” type cutaway, making all twenty-four frets accessible. Custom pickups are available, but as with the other arch top models, emphasis on the Nouveau is on a well balanced acoustic tone with great volume.

The Jazz Nouveau is available in 16 ” , 17 “, and 18” body sizes, cutaway or non-cutaway, with flamed Koa or Maple sides and back. (Pictured here is flamed Maui Koa with Sitka Spruce top.)

The Jazz Laureate model represents the pinnacle of arch top guitar design and sound reproduction. The woods used in the construction of these guitars are selected from hundreds of samples of master grade wood for their exceptional tonal characteristics as well as visual beauty. They have a very striking figure in the grain that gives that deep, “3-D” appearance under a beautiful finish.

The backs and sides are cut from the same billet of old cello wood, ensuring visual and tonal continuity. I personally select and test this wood for lightness, stiffness, sustain, and purity of tone. The “Laureate” is designed to have an exceptional acoustic response, with strong projection and power in the high end, as well as a deep voice in the bass end. Appointments include five ply wood purflings with optional dyed wood strip in the center of the five ply, wood bindings consisting of Curly Koa, Rosewoods, Silkwood, Curly Maple, or African Blackwood. Soundholes are also bound in wood.

Inlays include a multilayered diamond consisting of alternating strips of Paua shell Abalone from New Zealand, and Mother Of Pearl. Fingerboard inlays are diamonds echoing the peghead design. Available in 16″, 16 1/2”, 17, and 18” body sizes – in cutaway or non cutaway.