One of the great things about having had my son, Eli, with me last summer was working with him on some new design ideas.He’s very skilled with CAD; he’s becoming a really fine musician; and he shares my love of the design process.For the necks, we’re using locally harvested Claro walnut laminated with madrone.We don’t have any appropriate fingerboard wood here, though, so we stuck with our current favorite available rosewood, “Amazon rosewood” ( Dalbergia spruceana) which we get from our pals at Allied Lutherie in Healdsburg…a tenuous local source!But there’s also the location, environment, and the fact that we have a great music scene.Our climate is ideal for guitar making; we’re less than an hour an a half from three international airports; we’re near the San Francisco Bay Area; and it’s just plain beautiful here.
The sawyers from whom the woods came are all friends. Rick, What is your favorite part of the whole building process?These guitars remain true to my original vision of a solid body guitar that would have superior acoustic qualities embedded in the wood.I’m a strong believer in the idea that a solid or chambered body electric guitar must sound good, must respond well unplugged.I’d say that the nucleus of it all goes back to Richard Hoover of Santa Cruz Guitars and his original crew which included Bruce Ross, his now-former partner, and guys like Jeff Traugott, Steve Palazzo, and even the great fiddler, Darol Anger who once was a mandolin builder.
A lot of our local acoustic builders got their start with SCGC.Rick, we’re on our 3rd Limited Edition series together now and we are thrilled with the results. That cedar is a recognized “tone wood” and has become one of the most used woods for the tops on classical and some steel string guitars.