Please note: due to changes in regulations and constant design developments, we sometimes need to change details such as binding and inlay materials.
I made a similar guitar about two years ago, with a longer scale and using German Spruce. It caught everyone’s attention and now lives with Troy Donockley. The Italian Spruce does seem to have something extra, it’s a harder timber, and produces a stronger sound. African Blackwood is becoming the wood of choice for travelling professionals as Brazilian Rosewood is causing so much worry when crossing borders. Most of it is not even close to black in colour, and technically, it’s a Rosewood - Dalbergia Melanoxylon and not an Ebony as some people think. This piece is darker than it looks in the pictures, it’s so difficult to photograph that Mike has to pour lots of light onto it. The back is three-piece, as bigger pieces are already becoming so expensive and difficult to find. The 46 mm neck is mahogany, which I wanted to stain black, but the wood wouldn't accept enough colour, so I have left it brown with black grain, rather nice I think. The bindings are rosewood to keep it simple, and the tuners velvety Gotoh 510's.
The tone range is huge, and I’m particularly pleased with the high trebles, they seem to swell after the initial note, while the bass sits unmovable in the background, like a rather large nightclub bouncer.
I had Clive Caroll play it for me while I listened closely; it’s the best way to learn what is actually happening. I think all Fyldes have a strong middle, and this guitar has all the rest as well, even I am pleased.
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