jwcustomguitars

Custom built guitars, parts and repairs

Acoustic Guitars

"33" Series Acoustic Guitars

My "33" series acoustics get their name from the 1933 El Trovedor you may have seen on the Antique Dobros page on this site. These acoustics are based on the shape of that Iconic 1930's guitar shape, with the cutaway added to gain more upper fret access. I have made both 12 and 14 fret versions, mostly again, out of scrap lumber. Unlike the electric models however, the nature and type of wood is far more important in an acoustic. Up to this point I've used primarily maple back and sides, which are scrap-though very good scrap-and have used spruce for tops which I do buy strictly for that purpose. The size is similar to a "00". I have been making most of them very light, thin tops and a slightly oversize (for this size guitar) sound hole. They have scalloped bracing and radiused top and back. Necks on these are mortise bolt on similar to Taylor arrangement giving a more solid continuous path to conduct the sound. I have used numerous neck joints through the years but this one definitely has the best most consistent tone. (It also has the added advantage of making neck re-sets in the future a bit easier. Volume for the size of the guitar us really loud, articulation is superb and base response better than one expects to hear from a guitar this size.The draw back in building any acoustic guitar of course is that every single one sounds somewhat different so each one needs to be played and heard to really determine if any individual guitar is right for you. Check out the audio clips played on the first guitar shown below!

Here I'll show you some proto types and some that have been sold as a way of showing some possibilities.

AEC 33-12 Pao 6

Designed for a friend of mine who is a drummer normally and wanted an acoustic that felt and played more like an electric. It has solid maple back and sides (Stained) with a solid spruce top. This one by request does not have scalloped bracing. It has white binding with Herringbone purfling and rosette. Scale length is 24-1/2" with a 12" radius rosewood fret board. Nut width is 1-11/16". Top thickness is .087". Tuners are Sperzel trim locks with satin nickle buttons. Neck is 3 piece Maple, mortised bolt on, (similar to Taylor's arrangement). 2 way adjustable truss rod with the open adjustment hole I use to show more of the beuaty of the wood on the figured maple head stock. The nut is Micarta. Martin style X-bracing is used with a maple bridge plate. Ebony bridge with a bone saddle and LR Baggs Element with mini vol. and tone controls in sound hole for minimum change to the vintage look.

This guitar is also only 3" thick again by request, sound doesn't seem to have suffered much from the thinner body.

AEC 33-12 6

This guitar was designed and built for a local singer songwriter who plays primarily electric guitar. Body is 3-5/8" thick. Top and back are radiused. Top is figured spruce, back and sides are stained maple. As you can see it is a 12 fret design which gives it that old school look. Binding is plastic with herringbone purfling and rosette. Scale is 25-1/2" with a rosewood fret board & 16" radius. Neck is 3 piece maple (stained) with 2 way adjustable truss rod mortised bolt on, (similar to Taylor's arrangement). Head stock is book matched figured maple. Tuners are Spezel trim lock with satin nickel buttons. Fret markers are typical JWCG layout mother of pearl. Frets are medium jumbo. Action at the 12th fret .085 on 6th string. Nut width 1-11/16".

Bridge is Ebony with bone Saddle and LR Baggs Element w/ volume control and end pin pre amp. Bracing is Martin X-brace style and is scalloped. Top is .087 thick. Stings are Martin 80 /20 bronze .012-.052 Headstock inlay is Mother of pearl.

AEC 33-14 6

This is a 14 fret version of the "33" cutaway. It has solid stained flame maple sides neck and head stock, back is stained solid maple. Top is Spruce .085" thick with scalloped Martin style X bracing. Binding multi layer plastic white / black / white (vertically) with herringbone purfling and rosette. Frets are medium jumbo on a 24-1/2" scale fret board with a 16" radius. Neck profile is some what thinner vertically and bit flattened as per request. Truss rod is 2 way adjustable with open adjustment to expose entire bookmatched flame maple head stock. Nut is Micarta. Head stock inlay is mother of pearl. Tuners are Sperzel trim lock with satin nickel buttons. Bridge is Ebony with bone saddle, snakewood pins w/pearl dots and LR Baggs Anthem SL pickup system with Element ribbon in bridge and mic inside the guitar on bridge plate. with sound hole mounted volume and mix control and end pin pre amp. This is an awesome pickup system!

AE33-MAEVE 12

This is obviously a 12 string! What isn't so obvious is it is strung like a Rickenbacher with the octave strings below the standard ones instead of above like most other 12 strings. The owner has always wanted an acoustic 12 string, but the only 12 string he ever played any amount was a Ric. It makes it easier to fret notes and has that Ric type of feel when you play, particularly when doing single note lines or combination chord and note lines. Think Byrds "Feel a Whole Lot Better". Back neck and sides are stained maple. Head stock overlay is flame maple that has been lightly "aged" with stain similar to the spruce top. Bracing is typical Martin style with an extra tone bar to accept the added load of the 6 extra strings. Bridge plate is also about 50% thicker than normal 6 string. Top is slightly thicker than I typically make them about .095" again due to the forces exerted by the extra strings. 2 way truss rod gets some help from 2 carbon fiber stiffeners. This is also a non cutaway 12 fret model. Bridge is Fender spec rosewood with snakewood pins and an LR Baggs Element with sound hole mounted vol. and tone controls and end pin pre amp. Tuners are Sperzel trim lock (2 sets of 3L -3R) Black with black buttons.

Binding and Herringbone purfling and rosette are also "aged"

AEC 33-14 6

This is a 14 fret version of the "33" cutaway. It has solid cherry sides, neck and burled book matched Cherry head stock, back is figured solid cherry. Top is Spruce .085" thick with scalloped Martin style X bracing. Binding plastic white with herringbone purfling and rosette. Frets are medium jumbo, on a 25-1/2" scale fret board, with a 16" radius. Neck profile is somewhat thicker than usual as per request string spacing at the bridge is wider than normal. Truss rod is 2 way adjustable with open adjustment to expose entire book matched burled Cherry head stock. Nut is Micarta. Head stock inlay is mother of pearl. Tuners are Sperzel trim lock with pearl buttons. Bridge is Ebony with bone saddle, snakewood pins and LR Baggs Element in bridge with sound hole mounted volume control and end pin pre amp. Spruce top is "aged" using stain to give a vintage appearance.

Here are some audio clips played on this guitar, no eq, just a Carvin CTM 100 tube recording mic. Martin .012" to .052" 80/20 bright bronze strings. I'm obviously not the famous recording artist Joe Walsh, but the guitar does sound good, and it is truly the acoustic sound no effects whatsoever.

A few bars of "Friends In Low Places" flat pick.

Rhythm strummed to Ken Thomas' "Coast To Coast" with flat pick.

A Little bit of Chet Atkins style "Bojangles" finger style with thumb and finger picks and palm muting base line.

A bit of John D. Loudermilk's "Windy and Warm" from Chet Atkins arrangement finger style with thumb and finger picks. (again base muted with palm)

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