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I just thought that the world could use another look at a fine meat and potatoes, pre-CBS Telecaster. This one has been “ridden hard and put away wet”, but is still so beautiful and functional. The body has been refinished several times without stripping. This gives it an almost archeological feel. I will count the annular rings in the pickup cavity and let you know what I find. I know, someone changed the tuners. Things happen. It is still beautiful. Note the strangely worn fretboard at the body end by the date stamp.

I remember when you couldn’t give these things away. Today, this guitar represents a comparative rarity from the Norlin-owned era of Gibson that proves there actually were some engineers employed there that were awake, sort of.

Lots of controls manipulate an exotic (for the time) low impedance pickup system. In contrast to the Electar amp, this piece has all the bells and whistles, whether you want them or not, all in a fashionable mahogany peanut butter finish.

This amp looks like it has been in a time capsule. I would guess it is from the early to mid-1940s. Anybody out there have a clue? The tubes are unfamiliar and the socket pin count is squirrel-y, with extra cap connectors on some of the tubes. Each tube also has a three piece “man in the iron mask” shield that clasps around it.

The construction is so bullet-proof that it is no wonder it survived. It has a field coil speaker that predates the common use of permanent magnets. This field coil also doubles as a power supply choke. Ingenious! Beautiful simplicity, and it sounds terrific to boot. Gutsy, yet open.

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I guess I remain a little hard headed still wanting to do things by hand after all this time. People have been suggesting I use computerized routers and pantographic duplicators etc. for years. Since I don’t have large production quotas that warrant it, every Specimen is carved and fitted by hand and the advantages of this are perfectly fitting neck joints and string alignment. Circumstance as opportunity. The Luddite is a modern electric guitar with the appointments and build quality of an older world. Sensible hand craftsmanship made one-at-a-time.

You can see images of the finished instrument here.

A student of ours inherited this exceptional guitar from his grandfather in France. Inside the body it is labeled Guitare “Gelas” 192?.

Essentially, it is a guitar within a guitar. There are two intersecting tops that create an angle that force a negative pitch. It uses loop-end strings that attach to a tailpiece at the end of the body and descend down one plane where they meet a double saddle that arrests the strings. They then ascend along another plane and over the sound holes, that’s right, TWO sound holes— two guitars in one! The strings are actually pulling upwards on the sound table like a harp.

This guitar is truly an amazing piece and I am convinced that it played a part in Mario Maccaferri’s creation of his Selmer guitar designs. The sound hole rosette is super multi-ply colored stripes just like a Maccaferri.

The guitar is due back in the shop in several weeks when we will begin restoration work. I can hardly wait to hear it strung up.

The electric lute is for Michiel Niessen a prominent lute player from the Netherlands. His instrument will have ten strings, three of which share a longer scale and are fret-able drones. The neck is exceptionally wide compared to a guitar and embodies three carbon fiber reinforcements for stiffness.


This prototype is taking the shape of an oversized Maxwell guitar which I realized is actually shaped like a lute with horns!

While building this instrument I had fantasies that I would be able to get around this instrument as a player, you know, make a quick adaptation and get \”early”. As it turned out, this was not the case. This E-lute is a completely different instrument in its intended tuning. I think this makes the project all the more significant as it truly is an anomaly in the modern world. I cannot wait to hear what Michiel does with it. I think there are great things in store.

You can see images of the finished instrument here.

The electric mandola is being reproduced as a viola with frets. These photos show the typical construction of a Specimen aluminum body. Notice the aircraft girder style ribs. These are cut out of 1 ¼” aluminum. The top and back are then bolted into tapped holes in the ribs. All of the hardware is carved out of solid aluminum billet.

You can see images of the finished instrument here.

My hi-fi audio line took shape after years and years of servicing musical instrument amplifiers and using these devices endlessly. To me it is simply second nature to plug into the front of an amp and reach around to the back to flip up a switch to turn it on. It’s just natural.


My speaker outputs are on the back as is my fuse holder. This allows for a straight flow of the signal path from front to back. Laying out the parts was almost automatic with two channels flanking a central ground bus. The amp is dead quiet. You can see images of finished stereo tube amp here.

After the initial process of establishing a shape, the next logical step was to enlarge it by 400%! This resulted in a rather unwieldy construction going together but once the last seam was closed, the final shape was amazingly rigid. We added reinforcement layers and a quick finish for Andrew Bird’s Millennium Park Labor Day show in 2008.


This was a test run for Andrew to see how a horn this large would work on a large stage. The results were amazing. I was in the audience about 200 feet back from the stage and the sound projection was stunning. After the show Andrew ordered a pair and I had a mold made of the prototype. The original prototype was shredded to bits coming out of the mold, but the mold lives on an we are able to produce these magnificent horns for special applications. You can see images of finished horn speakers here.

Well here we want to shrink things down a bit and enter the realm of soprano land. Everything is smaller in soprano land. Smaller but the tension is greater. Carbon fiber splines are used to reinforce the three piece maple necks.

Epoxy is the glue of choice here. This construction enables the structural fortitude required for steel strings on the jumping flea proportioned neck. “The Uke must feel like a Uke, not a big chunky something” the client said. A Uke is a microcosm of sorts. All of the typical appointments and geometry apply in the regular fashion, but the tolerances are so much tighter and deviations from the spec have such a greater impact on playability. Building a Uke is a perfect boot camp project. It culls the wheat from the chaff. Separates the men from the boys. Sweats the whinny off the shins. If you can build a Uke, you can build an empire. If you can dodge a wrench, you can dodge a ball. You can see images of the finished instrument here.

The Specimen Royale is a new concept in archtop guitar design. We took pictures throughout the building process of the first Royale, from rough-cutting the neck and headstock to finishing the guitar with cellulose nitrate lacquer.

You can see images of this finished instrument here.