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A very few folks have now played this instrument.
Most recently a friend borrowed mine to show to his friend Robert Wetzel of San Diego.
His comment (relayed through my friend) was that the neck was a bit wide for him and he missed having a place to rest his arm above the strings.
(I would be happy to accomodate any of you should you wish to custom order a special version of this instrument.)
Rick Riley of Olympia has also borrowed it for a time and plays it whenever he stops by.
Rick likes the neck and is comfortable with the ergonomics, but would prefer to have a preamp onboard. (My personal instrument has only passive electronics ...no batteries. Instruments will be shipped with outboard electronics, to preamplify and convert to MIDI. This is easily customized.) Rick plays an instrument (made by Dallas Strunk) with a slightly wider neck.
Others have commented graciously about the overall design and playability. Instruments have evolved slowly and this one incorporates the features of the past great guitars and the modern great guitars.
Design follows function. And materials and craftmanship determine quality of execution. I am placing this design into the hands of others through this web site in the hopes of creating a new standard instrument.
Should you wish to have your local aor favorite luthier build a similar instrument I would be delighted to see it include the following features which I deem to be the core of this new breed, the Classic Electric Guitar:
Cutaway body style (to access the upper frets.)
Individual string pickups.
Individual string volume knobs (on top.)
6-Channel DIN connector.
Stereo output connector. (accepts standard guitar cord.)
Switch. (To bypass controls, direct 6-channel out.)
Master volume and tone control knobs (on top.)
Those wishing to build my instrument from plans are refered to the licensing agreement and plans, but these core features listed above are suggested for inclusion by all luthiers in refining our new instrument, the Classic Electric Guitar.
Build them to suit the master classic guitarists by using only your finest materials and best craftmanship. When it is discovered or realized by the master guitarists that these instruments exist or can be made, it will be their extended dynamic and tonal range coupled with playability which causes them to switch to this new instrument. Eliminating the problems of the guitar body (itself an amplifier) coupling with the electronic amplifier is best done by eliminating the guitar's resonant chamber. That cures the feedback problem but also eliminates any color which is introduced by guitar. The new sound is clean, pure, closer to the actual sound of the strings. (And thus string length, diameter, and tension become a more noticable factor in tone.)
Classic Guitar Tedchnique Volume I
By: Aaron Shearer If you are new to the classic guitar you will be best served by starting with this book, period. You will need a guitar, footstool, music stand, metronome, and a chair in a quiet corner of your home, available at the same time every day. And if you do not sight read classic guitar music, and even if you are an experienced performer, I still recommend this same book. Six months from now you will blow the soxs off of your peers, and be able to read anything that comes before you. (Then you can begin performing the music you have always wanted to play, and your limitation will not be in reading the music.)
Written by my instructor's instructor, I too used it while instructing classic guitar at The Evergreen State College, North Thurston High School, Music 6000, The Olympia Conservatory, Virtusoso Studios, Capital City Guitars, Music Services, and to teach my friends and nephews. I believe a person could learn to play the classic guitar by starting with this book and spending just a half an hour a day for half a year or so.
Click here to purchase Classic Guitar Tedchnique Volume I
This is precisely the instrument I desired. It is correct in design and function. It feels massive, solid, like a grand piano. Designed for amplification, its dynamic range is unlimited. Feedback is a controlled and orchestrated effect, not a problem. An instrument which permits the greatest range of complex timbers, begins with the pure sound of strings. The electronics are truely secondary to the design of the instrument as a mechanical platform to make playing natural and effortless. The jade nut and neck of cocabolo are responsible for unreal sustain. I have made a minimal body with a lowered bout (to lessen the need for a foot stool), and include a double-cutaway? and twentyfour frets (for modern pieces.) This instrument is correct. If you are a master (classic guitarist) musician, I expect that you would agree. If you are studio minded you would also agree. I hope this will make the guitarists work a bit easier by unifying his many guitars into one. The modern composer will enjoy writing for this instrument which simply extends the ranges of the classic guitar. I look forward to it's first special concerto being written and the debut performances.
Packed with cool gifts, CDG's, music microphones, music software, accessories like patch cords, and more.
If you are unsure of how to do this, e-mail me, and I will assist.