The Guitar Designer's Workshop

PBS Television Visits the Workshop

You will want to turn off the jukebox audio before watching this clip. ➚
OFF switch is in the right hand column. ➚

 

Pickup Progress and the Z-Ray Factor

The Sakura’s engraved steel plates interact with the magnetic field of the pickups. This made it essential to do on-guitar ear testing with mockup parts prior to picking the final configuration. I’ve chosen the set from about ten different possibiliteis based upon my taste, but knowing full well that this guitar is going to sound unique because of its construction parameters. The most satisfying sound came from a set that Seymour wound for me in his pickup man-cave in Santa Barbara. Shimmering highs, with a strong midrange wallop—these gave the guitar a huge presence for big Stonsey chords.

With that part of the build process completed, it was time to assemble the finished engraved pickup set.

The first step was to remove the mockup covers. and then replace them with the final brushed nickel and engraved versions. I’m always careful not to distress the parts while handling, but I also like to leave some evidence that an actual human built the guitar.

No guitar that I make is ever perfect, and that’s what makes them perfect. 

With that job done, I turned to the process of shielding the control cavity. I previously used a shield paint made in Belgium that did an excellent job, but electronis genius John Grail turned me on to an American-made nickel-based paint that is used by military electronics makers to isolate computer and communication rooms. I procured a small amount and thinned it enough to go through my touch up gun.

This stuff goes on like rice pudding but dries to a nice silver layer and the conductivity is off the scale. I’m thinking of painting my house with it to avoid Z-Ray exposure and unwanted cell-phone calls. Enjoy your weekend!

 

Sakura Backplate Engraving: Pre-Fit Closeups

It’s now time to apply the final lacquer coat to the Sakura, which means a final fit test is in order. This procedure allows me to check all the clearances and alignments of the hardware without the danger of damaging the final finish. I also don’t want to compromise the engraved pieces. These parts took nine months to be engraved by hand, and I absolutely want everything to fit.

Everything seems to fit fine with just the right amount of clearance for the last thin coat. I’ve decided to go with a lower gloss vintage style nitro to alow the brilliance of the metalwork to come forward visually. This will be achieved by adding a flattening additive to the nitrocellulose lacquer before spraying. 

Every time I unwrap the engraved parts they bowl me over with their fabulous detail. I only wish that these photos could reveal the depth of the work that is visible in person.

The cherry blossom petals are adorned with real rose gold and the leaves are green gold. At the very top of the picture a 24k yellow gold sun rises through the clouds. The entire plate background is finished in brushed nickel.

 

Now it’s time to get into the paint room and get on with the program.