Jeff had provided an image of an elaborate Nestorian cross
for the inlay. Originally, we were going to inlay a large mother of pearl plate on the back of the peghead with engravings of the
artwork. The shape of the plate just wasn't working out too well with the tuning key placement, so we opted for just the cross portion
of the artwork as a direct inlay in sterling silver and mother of pearl. James did some crosshatch engraving on the silver portion of the cross. |
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This is a prime example of what we term "Superb Walnut."
For the wood to receive this classification, it must have lots going on - alternating color zoning, preferably with some
wiggle to the grain. Flame figuring is a given on Superb Walnut.
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We faced the front and back of the peghead with coordinating veneers of Superb Walnut over layers of alternating
Vermilion and Mahogany. Usually we employ Walnut and Maple for this purpose, but this time we've matched the
subtle accent laminates in the body.
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It would practically be a crime to have anything other than continuous wood backplates on this amazing wood. Another benefit
besides beauty is that wooden backplates weigh significantly less than traditional brass backplates.
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With the extra long scale, we needed to make a more slender tailpiece and have it wrap around the omega carving so
that it would fit well without modifying the body shape.
Jeff opted for regular polished brass hardware without plating. While that does mean a little polishing in his future, it keeps well with the overall understated look of the bass. We had a great time making your bass and working with you, Jeff, not to mention the delightful visit with you and your wife. |
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Text and photos of guitar by Mica Wickersham Thomas, © 2011 Alembic, Inc. |
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