This jumbo steel string guitar is patterned after the well known Gibson SJ200, but with some modifications to suit the playing style of most guitarists. Specifically, the neck and heel are considerably thinner. Also, the use of mahogany for the back and sides makes the guitar lighter in weight and more comfortable to hold.
This instrument was built with a torrefied Adirondack red spruce soundboard, curly Honduran mahogany back and sides and a one piece Honduran mahogany neck. The ebony fretboard holds a 25 1/2″ scale and has a 12″ radius of curvature. The peghead veneer and bridge are also ebony. The bindings are Indian rosewood. Abalone purfling lines are found throughout the instrument. The body is 17″ wide and 4 3/4″ deep at the tail.
This guitar has tremendous sustain compared to its maple cousins. The bass notes are crystal clear without the booming sound one would hear in a similarly sized rosewood body. The balance from string to string is exceptional. Due to its light construction, the instrument has a highly desirable bell-like quality when strummed and it has great projection without having to aggressively attack the strings.
This 18″ oval holed archtop guitar was constructed with a long-aged Sitka spruce soundboard, master grade curly red maple back and sides, and a curly maple neck. The fretboard, bridge, tailpiece, binding, peghead overlay and diamond inlays are ebony. The yellow purfling and accent lines are Canary wood left in its natural state with some small flecks of red occurring in the bold yellow color. The soundboard is braced similar to my L7 style archtops. It has an X brace along with perpendicular braces at either end of the X.
There are two custom made, hand wound Kent Armstrong pickups with this guitar. In these photos, the humbucker is attached to the end of the fretboard. That pickup can be replaced with a P-90 style, which also conforms to the curvature of the fretboard and sound hole.
This instrument has a very open sound, somewhat like that of a great flattop guitar, while still offering the clarity and note separation of a great archtop. The attached video perfectly demonstrates these properties after a brief interview about the guitar.
This OO-sized guitar pays tribute to the Kirtland’s Warbler, a bird that is known to nest only in a small area of Michigan in a very specific habitat of Jack Pine trees. It was nearly extinct 50 years ago, but its numbers have steadily climbed thanks to intensive conservation efforts.
The guitar’s back, sides, neck, and peghead veneer are Michigan Black Walnut, which I feel is one of the most underrated tonewoods in lutherie. The soundboard is Master Grade Western Red Cedar. The warbler inlay on the peghead and the pine cone position markers on the fretboard are various natural and dyed veneers. All bindings and the soundhole ring are birdseye maple. The ebony fretboard is 1 11/16″ wide at the scalloped bone nut. The ebony pyramid bridge holds a bone saddle. Waverly machines are installed on the guitar for precise tuning with no slips. The scale length is 24 3/4.” The body is 14 1/4″ wide and 4″ deep.
Like the Kirtland’s warbler itself, this small guitar has a surprisingly strong voice that defies its size. Not only is it clear and very well balanced, but the sustain is amazing and the action is silky smooth.
For Sale: $6,500
