After building 26 F5's, I'm taking a little turn. A5's with tone bars. #26 is a custom build with Engelmann & a crazy piece of Big Leaf. #27 & #28 have the same Sitka from the previous batch. #29 & #30 have Sitka from an Alaskan bridge that was decommissioned in the 1960's, and it is the toughest spruce I've ever met (it is freakish). Another slight change in the varnish recipe. I changed my neck joint to a tapered dovetail, instead of the pinned "V" joint (or pinned, tapered mortise and tenon). I have a new logo on the headstock in MOP, and an abalone Fleur de Lis, inspired by the Griffith Loar. I'm ready to hear what this kids sound like! Looking at the 3rd weekend of October for that!
All 1-Piece Sitka tops from the same split block! 2 with X-Bracing, and 3 with Tone Bars. #24 & #25 have back, ribs and necks all from one piece of fiddleback maple that was originally intended to be a cello neck. Sticking with the 12" fretboard radius. Very slight change in neck pitch. We have another small change in the varnish recipe.
All Sitka tops, 4 1-piece backs (including 3 consecutive), slightly taller arching, slightly wider necks, taller ribs, all X-braced, a little twist in the spirit varnish recipe, an addition to the headstock inlay, and 12"radius on the fretboards.
All one piece tops and backs, X-braced, radiused necks and ebony neck stringers. Back slabs 11-13 and 14-15 are consecutive. The tops on 12 & 13 are siblings, as are 14 & 15.