Features & Upgrades
ACOUSTIC MODELS
Structured Sides - In my opinion, one of the greatest innovations in acoustic guitar design since the X brace. Quite simply, this method of construction yields a louder guitar with better projection. It also creates a guitar that sounds bigger than it is. This is due to the inherent physical properties of the additional side mass. The only negative (for some people) is the weight gain, not silly heavy, but the guitars definitely aren’t “light as a feather”. This idea, to my understanding, was borne in the remarkable Mile End Guitar Coop in Montreal, Canada. Thank you guys.
Bolt-on/Bolt-off Neck - one of those design decisions that has EVERYTHING going for it. It’s better, from a making perspective, to be able to set the neck angle ad infinitum and to be able to finish the neck and body separately. I’m yet to be convinced that dovetail neck joints sound better (or worse).
Cutaway - the ubiquitous upgrade for greater access to the upper register. I adopt a pointy, modern florentine style by default. I don’t dislike venetian, but the florentine style seems to fit better with the rest of the aesthetic.
Compound Radius Fingerboards - Slightly trickier to execute than a constant radius. By making the fingerboard essentially the section of a cone, you can have a tighter, more comfy radius in first position and a flatter, no choke radius in the upper register. String bending isn’t really an issue for most acoustic guitarists, but what you might not appreciate is that a by product of a compound radius is a more even string height at the saddle - in terms of distance from the surface of the soundboard to each string. This subtle design feature goes some way to helping achieve that “balanced” sound that I’m looking for.
Soundport - This option is often discussed in a “does it even do anything?” kind of way. To my ears it offers greater presence and immediacy to the player. To my microphone and frequency analysis it significantly alters the resonances of the instrument. I haven’t noticed a drop off in terms of the projection of instruments with soundports.
Zero frets - The more guitars I play and make, the more I am in favour of the humble zero fret.
ALL MODELS (inc Electric)
Multiscale fretboard - A really funky way to manipulate string tensions to better suit your needs. By elongating the bass strings you can increase their tension to accommodate drop tunings. Similarly, keeping the treble strings shorter ensures they stay sweet and not too stiff to play. Ergonomically, its a revelation for most players, who don’t take long to adjust if they even notice it at all.
Nut width/string spacing - Any adjustments to nut width and or string spacing are made without charge. It’s vitally important to me that your guitar plays like an old friend.
Neck profile - as above. I carve all my acoustic necks by hand, so these adjustments are easily accommodated.
Truss Rod - Hardly groundbreaking, but I like to keep the access in the headstock end. It’s a feature that I feel is essential for future maintenance.
Finish options - Polyurethane, for durability and shine. French Polish for sonic transparency and unmatched beauty. Or Oil/wax for a tactile, open pored finish, my personal favourite for a neck.
ELECTRIC MODELS
Pickups - put whatever you want in there! My go to pickup winders are Mojo Pickups and Sunbear Pickups, check out their range and see if anything takes your fancy. I prefer low output pickups for their dynamism, but you might want super hot, overwound deathbuckers…
Tremelo - The design can accomodate a Jazzmaster style trem, or with a little fiddling, a strat style.
Wiring - I’m happy to discuss and wiring mods and schematics. I find it’s great to have the options to find new and different sounds, so long as the controls remain intuitive and easy to use in the dark.
Finish - Any colour you like.