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| Author: | John Kinnaird [ Wed Mar 16, 2005 6:55 am ] |
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I am not sure that the spelling is dead on but its close. He made guitars with lotus inlays around the soundhole and a smiling bridge. George Harrison (remember the beatles?) had one. This is a loose interpretation that is nearly finished, but I thought I might show it anyway. Redwood top (Mauel), zircote back and sides, bubinga binding. Thanks for looking. John 
In this last shot you can see the only inlay on the fingerboard is a bloodwood lotus around the 12th fret position. |
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| Author: | Michael Dale Payne [ Wed Mar 16, 2005 7:09 am ] |
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Dadnapti John. That is some seious flash there. Love the redwood. the dark pedals in the rosette, ebony? let see the back and sides |
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| Author: | Dave Rector [ Wed Mar 16, 2005 7:10 am ] |
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John, that is awesome dude! I'll send you my shipping address so you gan get it over here quickly. 
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| Author: | John How [ Wed Mar 16, 2005 7:11 am ] |
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Check that mustache 
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| Author: | John Kinnaird [ Wed Mar 16, 2005 7:22 am ] |
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Thanks guys Michael those are ebony petals amongst the abalone. I think I had this up once before, and if so, my apologies, but this gives a pretty good look at the binding scheme and a little something on the back 
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| Author: | Michael Dale Payne [ Wed Mar 16, 2005 7:54 am ] |
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Very nice......more talent than one man deserves
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| Author: | LanceK [ Wed Mar 16, 2005 7:58 am ] |
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Very inspiring John! I still cant figure out how you hold a day job and kick out guitars like you do -- |
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| Author: | BruceH [ Wed Mar 16, 2005 8:02 am ] |
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Wow, what a beauty! Is this a comission, or did you just get a wild hair to do something different? |
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| Author: | Roy O [ Wed Mar 16, 2005 9:51 am ] |
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Fantastic John. Your work is always impressive. |
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| Author: | Dickey [ Wed Mar 16, 2005 10:00 am ] |
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| John, love the bindings, and purfling scheme, really wow......
The flash on the front is amazing, nice work. I like the redwood too. How's it sound? Did you make that moustache? |
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| Author: | Bobc [ Wed Mar 16, 2005 10:03 am ] |
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Awesome work John. Are those bubinga bindings I see? |
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| Author: | John Mayes [ Wed Mar 16, 2005 10:08 am ] |
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It's smiling at me! Sweet work John |
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| Author: | EricKeller [ Wed Mar 16, 2005 12:55 pm ] |
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I sanded some bubinga sides too thin and was thinking about cutting them up for binding. I always wondered about the color clashing with other woods, but that looks great. I guess I'll have to do it now. |
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| Author: | John Kinnaird [ Wed Mar 16, 2005 1:13 pm ] |
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Thanks everyone. I appreciate the kind words. This is a commission and an interesting one at that. It's been a long time coming and when I get it strung up I'll report on the sound. I did the bridge myself Bruce after showing the client about 15 different profiles. We have been collaborating on this for at least a year. I have a picture of Zemaitis holding a guitar in one hand and his wife in the other. He evidently was quite a character. This guitar looks a little tame compared to his work. Harvey Leach actually did the rosette, I just inlayed it into the top and put that ebony ring inside the hole. |
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| Author: | John Kinnaird [ Wed Mar 16, 2005 1:15 pm ] |
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Forgot to mention that just around the bubinga binding is Bob C's black/bloodwood/black purfling. I love that stuff Bob. |
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| Author: | Bobc [ Wed Mar 16, 2005 1:21 pm ] |
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Thanks John. You sure know how to use it my friend. Looks awesome. |
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| Author: | Colin S [ Thu Mar 17, 2005 1:21 am ] |
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Love the bridge, The great Baroque guitars, including the one I'm currently copying by Stradivarius, had side extensions on their bridges that curled upwards and they are actually known as 'Moustaches'! These Kinnaird boys must be the most talented luthier brothers around. So much talent in one family
Colin |
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| Author: | Dave Rector [ Thu Mar 17, 2005 1:32 am ] |
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Bob, do you still have some of that black/bloodwood/black purfling? I'm getting ready to start a project that needs it. |
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| Author: | John Kinnaird [ Thu Mar 17, 2005 3:20 am ] |
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Colin I would sure like to see some pictures of the baroque guitars you are making. Are you using steel or nylon strings. What kind of bracing patterns are you using? That bridge was a real project. I used the tops of bridge pins for the end knobs and mortised the tips of the moustache into those knobs. Really kind of fun. Thanks for the kudos, but you know its just a kind of carpentry. John |
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| Author: | mrchambo [ Thu Mar 17, 2005 4:16 am ] |
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Absolutely gorgeous, John! Great job! The tribute to George Harrison DVD features an original Zemaitis or two being played. Your work captures the true essence of Tony's passion... |
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| Author: | Colin S [ Thu Mar 17, 2005 4:40 am ] |
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John, my 1700 Strad is only just off the drawing board so nothing much to see at the moment. I've got a couple of months of rose carving to do first! I'll put some pics up when that's done. The 'strad' will be 5 course (10 string) gut strung. This is a guitar from a slightly later period with the 'moustache' The strad will be a bit fancier! I'm really getting into building the early instruments and the more you study them the more you realise that there is little new. 
1780 Guitar (anon) Colin |
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| Author: | John Kinnaird [ Fri Mar 18, 2005 12:34 am ] |
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That is an impressive moustache. I assume the strad has a carved rose in the soundhole, are the back and sides made of strips of wood or are they more or less single pieces like modern guitars? |
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| Author: | John Kinnaird [ Fri Mar 18, 2005 12:37 am ] |
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I am so pleased to hear you say that this guitar captures the Zematais spirit. That was the goal of course and it is hard to be objective about your own work. |
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| Author: | Colin S [ Fri Mar 18, 2005 2:08 am ] |
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John, yes the soundhole does have a rose but not carved out of the solid spruce top as with the lutes, this rose will consist of three layers of pierced fruitwood. The back is much the same as the modern guitar two main pieces, bookmatched with a centre strip (I told you there was nothing new). I assume that George had the lotus sound hole rosette after his adoption of eastern mystercism. By the way growing up as a teenager in London in the 60s I got to see a lot of the bands before they were superstars, including the Beatles (never a great fan) The Rolling Stones and Pink Floyd when Syd Barrett was the guitar player. I was a great fan however of the various John Mayall lineups, everyone who counts played with him at some time. Eric Clapton, Jeff Beck and of course the great Peter Green, Mick Fleetwood and John McVie who later on went on to form Fleetwood Mac. Peter Green is back playing superbly with his Splinter Group after many years out as a result of too many bad trips! If you get the chance go see him, he is still the greatest ever white electric blues player. Colin |
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| Author: | John How [ Fri Mar 18, 2005 2:20 am ] |
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I agree with you Collin, Peter Green was my biggest early hero.And as a mater of fact and in a kinda strange round about, he is the guitarist that got me interested in the blues. He was/is such a master of tone. And was one of the guitarists who knew how to leave holes in his guitar playing. Awsome guitarist. I don't think he gets over he too much though. I have his most recent splinter group recording, at least I think it is. Lots of Robert Johnsom stuff. Hot Foot Powder |
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