and three more in the pipeline.
This one is Sitka top, Black Limba B/S (remember Tony Costa's guitar, well I got this set about three years ago when I saw his), mahogany neck, forward shifted x-bracing, cedar linings, ebony FB, bridge, binding and heel cap, Brazilian RW end wedge, gold MOP inlay, Herringbone rosette, bone nut and saddle, Grover Rotomatic tuners, K&K pure mini PU.
Has a really nice tone - taste like chicken, I mean, sounds like Mahogany.
Another one out the door...
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Tim Benware
- Posts: 1489
- Joined: Thu Dec 22, 2011 1:22 pm
- Location: Asheboro, NC
Another one out the door...
- Attachments
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- 56 Front.jpg (111.8 KiB) Viewed 1805 times
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- 57 Back.jpg (109.69 KiB) Viewed 1805 times
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- 58 Playing.jpg (139.69 KiB) Viewed 1805 times
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- 59 Angle.jpg (119.67 KiB) Viewed 1805 times
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- 60 Front Close Up.jpg (138.71 KiB) Viewed 1805 times
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- 61 Back Close Up.jpg (153.49 KiB) Viewed 1805 times
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- 62 Headstock.jpg (119.53 KiB) Viewed 1805 times
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- 63 Backstrap.jpg (125.51 KiB) Viewed 1805 times
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- 64 Rosette.jpg (172.55 KiB) Viewed 1805 times
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- 65 Bridge.jpg (92.38 KiB) Viewed 1805 times
I've "Ben-Had" again!
Tim Benware
Creedmoor, NC
Tim Benware
Creedmoor, NC
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John Parchem
- Posts: 2755
- Joined: Fri Dec 23, 2011 8:33 pm
- Location: Seattle
- Contact:
Re: Another one out the door...
nicely done! I do like the look of the Black Limba. That is one sweet guitar.
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Dave Bagwill
- Posts: 5952
- Joined: Tue Dec 13, 2011 7:44 pm
Re: Another one out the door...
That guitar makes me want to pick it up and play it. Outstanding.
-Under permanent construction
Re: Another one out the door...
Tim,
I second John P and Dave B. It is a great looking instrument. Black Limba is a striking wood and I like the way you have used its figuration to carry much of the load with respect to the overall look. I have read it is similar to hog in its effect on tone and indeed the couple sets I have sound and feel a lot like hog to me. I have not used any of them, however. You note it sounds like hog in this instrument. Will we be hearing a sound clip?
I have a second question about the Brazilian Rosewood end wedge. As we all know there is tremendous concern about the "legality" of Brazilian these days and I wonder how you are handling that. By adding just this one small piece of BRZ, do you anticipate there will be difficulties with authorities?
I have a CITES certificate for some of my BRZ, but I purchased most of it before documentation was an issue. The catch-22 is that when documentation was not required, there was no reason to seek it, and therefore none was provided and probably no longer exists. The assumption was if it was already in the country, it had passed muster. Now that assumption is questioned, after it is too late to address it.
Even where I have a certificate, it covers a whole purchase, not every piece in the lot. For instance, 10 BRZ bridge blanks that would each go on a different guitar, have but only one official certificate. And, in truth, the certificates don't include a photo of the wood or any description that would tie them to specific pieces. So how do the authorities know which pieces of wood they pertain to?
Any clarity you or anyone else can bring to the sea of rumors about BRZ would be appreciated.
PS: Ken, if you think these questions should be in a different thread, by all means move them.
I second John P and Dave B. It is a great looking instrument. Black Limba is a striking wood and I like the way you have used its figuration to carry much of the load with respect to the overall look. I have read it is similar to hog in its effect on tone and indeed the couple sets I have sound and feel a lot like hog to me. I have not used any of them, however. You note it sounds like hog in this instrument. Will we be hearing a sound clip?
I have a second question about the Brazilian Rosewood end wedge. As we all know there is tremendous concern about the "legality" of Brazilian these days and I wonder how you are handling that. By adding just this one small piece of BRZ, do you anticipate there will be difficulties with authorities?
I have a CITES certificate for some of my BRZ, but I purchased most of it before documentation was an issue. The catch-22 is that when documentation was not required, there was no reason to seek it, and therefore none was provided and probably no longer exists. The assumption was if it was already in the country, it had passed muster. Now that assumption is questioned, after it is too late to address it.
Even where I have a certificate, it covers a whole purchase, not every piece in the lot. For instance, 10 BRZ bridge blanks that would each go on a different guitar, have but only one official certificate. And, in truth, the certificates don't include a photo of the wood or any description that would tie them to specific pieces. So how do the authorities know which pieces of wood they pertain to?
Any clarity you or anyone else can bring to the sea of rumors about BRZ would be appreciated.
PS: Ken, if you think these questions should be in a different thread, by all means move them.
Last edited by John Link on Fri May 08, 2015 12:03 pm, edited 1 time in total.
John
Re: Another one out the door...
Bravo Tim! Very nice.
Re: Another one out the door...
The photography of the whole guitar is very professional looking. Could you tell us how you set that up?
John
Re: Another one out the door...
Tim, That is a very professional made looking guitar. Well done. keep going.
Please post a pic of the end wedge. I'm curious about the little piece we're talking about. To be honest, BRW is history to me, like the dodo. And everyone is covering it with myths, what sounds very funny to me. Please forgive my sarcasm.
Again great guitar.
Herman
Please post a pic of the end wedge. I'm curious about the little piece we're talking about. To be honest, BRW is history to me, like the dodo. And everyone is covering it with myths, what sounds very funny to me. Please forgive my sarcasm.
Again great guitar.
Herman