Multi-scale – also known as fanned-fret
Other than being a cool looking guitar, it has an important role in playing and tuning.
Tuning: We all know that feeling of a floppy string followed by a muddy tone when it comes to low tuning. Having a long scale allows you to use your standard string gauges instead of a 1/4 inch cable and still achieve a tight tone without losing tension.
Playability: The differences between the longer and the shorter scales create the fan frets angles which allow your hand to rest in its natural position on the fretboard, without the need of stretching those tiny fingers all over the F board.
The Perpendicular fret is on the 7th so you’ll get full access to all the frets without the need to stretch out your Yoga exercises all over the fretboard.
Intonation: nothing to do with it! Every instrument should be set to the right intonation regardless of how it is built (fan fret or not).
Hardware: I use the Bare knuckle slanted pickups with a 10 degrees angle on the base plate.
Single string bridge by Hipshot – that way, I can adjust the position of each string in the best manner.
6 Strings MS: 25.5″-27″
7 Strings MS: 25.5″-27.5″
8 Strings MS: 25.5″-28.5″
I dry our stock of woods in a natural environment, not an industrial kiln dry. (a kiln will stress out the drying process)
I let it dry for a minimum period of 3 years until it reaches 6-7 % moisture, only then I can use it to make a musical instrument, anything else is just going to be a block of wood with strings on it.
I use Mahogany, Ash, Ebony, Maple, Mansonia.
Exotics woods: Sheesham, Black limba (Korina), Zebrano, pale moon Ebony, burl Maple and more.
Body: 40mm thick for all models – that’s 34mm body+6mm solid top.
Total length: Up to 1200 mm – because these are baritone guitars for most cases, I use bass hard cases.
Neck profile: 19mm at the first fret and 20.5mm at the 20th fret.
Nut Width: 43mm
24th fret: 58mm
nut width: 48mm
24th fret: 68mm
Nut width: 57mm
24th fret: 78mm
Almost everyone is looking for the strongest neck, I have to say that’s a mistake. That will probably be a stable neck and won’t lose tuning so much, but you’ll probably end up with a dead instrument.
A neck should vibrate in collaboration with the strings frequencies, the neck comprises 70% of the sound.
I build the necks from booked match stabilized woods with one truss rod and no carbon fiber reinforcements. I want to allow the neck to vibrate and react to the strings in the best possible way.
That is the reason why I’ll never build an extended upper horn, that will just kill the bass side of the neck.
Construction method: I do only set necks since I believe it’s the best way of connecting wood and making them work together without losing the sound in different materials (that is physics).
Made from Ebony or Maple, Sometimes other exotic woods.
Fretboard binding is standard for an OD guitar, why? because you deserve a comfortable neck in your hand, a fretboard with binding keeps the fret ends inside the wood. If you have read what I wrote on tonewood, then you must know by now that wood moves and changes over the years, that can cause the frets to pop out from the sides and go through your gentle hands, we don’t want that 😉 also, it looks better than a fretboard with fret ends on its sides.
You can have binding which is the same wood as the FB (not Facebook) or anything else that compliments the FB.
I use only Switch-Craft for switches, it last longer then anything else out there.
Alpha for potentiometers – same reason.
Only silver covered wires.
I found some capacitor that works best for tone, it has a wider spectrum than everything else and does not eat your tone!
Everything is shielded, even if it’s 2 hum-backers configuration.
I use Hipshot products for bridge and tuners – open gear locking tuners is a standard for all models.
Pickups: Bare knuckles, Seymour Duncan(for 6 string guitars and nonslanted-multiscale).
Tuners buttons: I make my own buttons – its crafted out of aluminum and anodized in black or gold. these buttons weight less than 10 gr for a set of 7! (regular buttons weighs almost 80 gr).
I use bone nuts:
Bone is a denser, stronger, more durable material and is naturally greasy
It doesn’t break strings, it rings better than everything else I’ve tried.
Don’t worry, I make sure our bone materials gets from animals that died naturally, not hunted or hurt for our needs. If you still don’t want to have animal material in your guitar, let us know, I have a nice replacement for it.
Rhea has a slightly acoustic tone than the others, that is due to its unique headstock. The Natural Geometric patterns act almost like acoustic headstock, it vibrates different than a regular solid headstock, giving it acoustic tone characteristics.
I use acrylic lacquer:
It’s durable, doesn’t turn sticky with time and most importantly, doesn’t “kill” the sound
MOST IMPORTANT! I spray coat only about 100 microns (0.0039Inch), that’s a very important method, we do not want to block the wood or seal it completely. It must breathe over the years in order to resonate and use its full potential as a tone wood. The finishing process is done by hand, we don’t have a robot which sprays a 1.5mm lacquer like in huge companies, there is a reason for that, once the lacquer is so thick, it’s easier to sand it down and finish the guitar faster, but the downside to it, is that the sound.
Wood vibrates, if the lacquer is thick and soft, it will dampen the sound. If the lacquer is thin and hard, it will let the wood resonate as it should.
Don’t ask me these:
Copies and replicas of other guitars – no, no …NO.
Ever tune bridges: Not worth the loss of a good sounding guitar.
“I’ll give you some parts I have, can you give me a discount?” – Mmm nope.
“Will you send me a guitar for no reason?” Will you send me money for no reason?
Your own designs.
Extended upper horn – See my opinion on that in the neck section.
This list will be updated once in a while 😉