Colonial Grand Symphony

    When talking about acoustic guitars, the list of subjects seems endless. From the types of woods to the tightness of grain, the stiffness of a given species or the tap tone, bracing, neck materials, string spacing, frets, it just never ends. Guitars are one of those few things in existence that are actually the sum of their parts and yet the whole becomes more than any given aspect. I myself have studied wood for years, how it moves, expands, contracts, how it responds to different materials and finishes, the way the grain runs and how it effects tone, the relative stiffness to weight ratios, the  moisture content, etc., etc.
    What I have discovered over the years, especially in lutherie, is that practical knowledge in the real world always trumps engineering specs on a computer or paper. What seems like it should work in the calculations in point of fact does not always work in practice and even more cerebrally upsetting is the fact that what should not work under any circumstances - sometimes actually does.
    We have many wonderful and amazing luthier professionals in the world today. In fact it is a buyers dream time to be alive, as we are truly reaching the peak of guitar design function and sound. The guitar is truly in its "hay-day" and any changes that come in the future at best estimate will only slightly improve the guitar sound. Sound however is a subjective and un-quantitative.
    The point of this lengthy and drawn out introduction is to set the stage for the latest project from Studio de Vallis, the Colonial Grand Symphony. This is truly an inspired concept and the first "Themed" guitar from our studio. The concept is a guitar that can capture the essence of the Colonial Era and pay homage to the history of the land where the guitar was truly born as we know it today.
    The guitar will feature an amazing Master grade Bear Claw Sitka spruce sound board, exquisite 4AAA Flamed maple back and ribs, 5 piece mahogany maple and rosewood neck, ebony fingerboard and bridge, camel bone nut and saddle, curly KOA binding and much more.
    The finish on this guitar will be truly historical and unique, in the Colonial Era maple was finished with a solution of acid and iron filings, the acid reduces the iron to microscopic dust, when the acid is applied to the wood it imparts those microscopic iron particles onto the wood. Heat is then applied to oxidize the iron hence turning the wood beautiful shades of browns and reds with the contrasting flames in deep rich dark browns to almost black. This is not a finish that can be copied with stains or dyes, and it is truly unmatched in beauty and depth. I am truly interested to see what the iron particles will do to the sound of the maple back and ribs, I have a feeling that if there is a change in tone it will be very slight. Nonetheless forging forward is the way to discover new lands in the guitar world.
    Stay tuned for the build of this amazing instrument, we will be posting pictures and information throughout the build process, so subscribe or check back often.

Click here to follow the build!