“The Ross” Blue Line
“This February I received an archtop guitar made by Danny Koentopp. I first contacted Danny about building a guitar for me in November of 2016 after hearing Bobby Broom’s guitar at the Vermont Jazz Center. Bobby is an inimitable musician and one of the most accomplished guitarists alive on Earth today and his guitar had a similar mystique. The instrument had a simple and handmade appearance, it wasn’t too shiny, and the sounds emanating from the stage were uncanny. It was unquestionably Bobby Broom’s sound coming out of the guitar but the guitar was playing a supportive role as it seemingly melted into the master’s hands. It appeared not as an object to be confronted and tamed but as a transparent conduit catalyzing musical expression…
…The instrument he made for me is an implement of artistic creation and a work of art itself. It’s been in my hands for about three months now and I’ve really just scratched the surface but I know that it will change and develop with age and with use. I’m certain that I too will age and grow with this guitar and though I’m not in any rush to put on more years, I am looking forward to the music I am yet to make with this beautiful instrument.” – David Ross (Click here to read the full article)
Even from the early discussions, this guitar was a joy to put together and it was the first left handed Blue Line I’ve built. The foundation of this guitar was to create a guitar that was very warm and balanced with a strong acoustic voice that my client, David Ross, could also conveniently gig with in a trio or larger ensemble. Some specifics, besides the voice, we worked over was the neck shape and feel, which included a flatter 20″ radius. Everything about this guitar echoed warmth; the tonewoods I chose, the bracing, the low-wind pickup, and even the french polished brown varnish. Even though playing this left handed guitar felt like I never held a guitar in my life, it didn’t stop me from playing it hours at a time before it shipped out.
Here is a piece entitled “Paper Crane” that David wrote on this guitar. To read the story behind this piece, view the sheet music, and discover more of David Ross’ beautiful music please, click here
- #065 Blue Line Archtop
- Left Handed, cutaway
- x-brace
- Master grade, select reclaimed Bear River bridge Sitka Spruce
- Master grade, Romanian Flame Maple back and sides
- Body depth 3.125″
- Flame maple neck with bone nut width of 1.75″
- Macassar Ebony Fingerboard with scale length 24.75″
- Fingerboard radius 20″
- Neck shape, flatter ellipse
- Standard Fhole – Bound in maple
- 2 way truss rod with carbon fiber reinforcements
- Macassar Ebony headstock face veneer
- Macassar Ebony veneer on rear of headstock
- Macassar Ebony heal cap
- Flame maple body binding with violin style purfling
- Maple neck/headstock binding inner purfling line
- Straight Fingerboard extension
- Medium jumbo frets – No Fretboard Inlay
- Edge position elliptical ebony inlay markers
- Waverly tuners in nickel with Ebony Buttons
- Macassar Ebony Finger-rest with stealth tone control and volume above
- Hand cut and compensated Macassar Ebony bridge, adjustable
- Floating Kent Armstrong HB off neck, 6.8k wind
- Carved Macassar Tailpiece
- Hand turned Aluminum Endpin with hardwood strap button (grounded to jack)
- French polish with a brown-coffee color with honey trim
- Custom fit Hoffee carbon fiber case
#065 The “Ross” Blue Line
A Rich Brown French Polish shows clarity, warmth, and texture over a very special Sitka Spruce top
A beautiful Romanian Maple back under a delicious brown.
Here you can see the new method I’m using for floating the pickup which incorporates a mortise and tenon under the fingerboard. This allows greater stability as well as more adjustment than the typical epoxy or bracket mount.
There’s a nice balance between the Macassar Ebony fittings and the rich brown varnish
A closeup of the Macassar Ebony bridge.
Fholes bound in figured Maple
The natural curve of the back
A nice shot of the back arching, bindings, and neck profile
Position markers are inlayed with elliptical dots which not only are more visible, but tie in visually to the shapes of the neck.
A closeup of the Macassar Ebony headstock with contrasting maple bindings
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