Dear Readers,

When using the contact form to contact me, please be sure that the email address you give will accept emails from senders not already on your list.  I received an inquiry from Tim (Timothy) Allred a few days ago.  I have not been able to get an email through to him because his mail system rejects mail from unfamiliar senders.  And he didn't give a phone number on the contact form.

Tim asked about the difference between my Basic Model Blanca and my Standard Model Blanca.  Here is the message I wanted to send to him in an email:

Hi, Tim.

Thanks for writing.

The differences are essentially in the decoration:  The basic model does not have purfling, the thin decorative lines next to the edge binding, which I use on the sides and soundboard on the standard model.  Also the rosette in the basic model may be one that I felt was not executed as well as it should be for the standard model, or it may simply not be my signature “basket-weave" rosette.  And there is no pearl or abalone inlay on the ends of the pegs (Pegheds, mechanical pegs). 

To make it even more complicated to explain, I am using Port Orford cedar for the back and sides of the basic model and Mediterranean cypress of the standard model—although I have in the past used POC for some of the best standard models that I have produced (including the one I play every day). 

The POC backs of the basic model are composed of four pieces, instead of the usual two, although you wouldn’t know it if I didn’t tell you. I happen to have a big stash of this wood which I re-sawed from large planks, and in order for it to be “quarter sawn” I had to re-saw it so that the maximum width is 4”.

There is no difference in sound or playability.

I look forward to being your luthier.

Sincerely,
Ethan

Engelmann spruce soundboard with Bolivian rosewood back and sides, Rubner tuners

Over the past several months I had a guitar building student in my workshop. Scott did some of the work and some of it he watched me do. I did all of the machining. We spent about 51 hours on it together, by my count. After 3 hours of work on the french polish finish under my tutelage, Scott did the rest of the finishing on his own, then brought the guitar back for fret dressing, tuners installation, and for me to make the saddle and nut. He got a good guitar out of it.