Cornerstone Zion acoustic guitar build - a dream in progress!

RoyC · 09-16-2010, 05:38 AM

A year or three ago I started formulating plans to have a custom acoustic guitar built for me. I researched Acoustic Guitar Luthiers for some time and eventually built up a list of those that I was interested in and eventually narrowed the field down to a shortlist and final selection that has resulted in a now booked build slot that opened up due to a late cancellation in August 2010. The build will take between 6-12 months and will hopefully be completed in April next year.

I thought that it may be of interest to some to start a thread from concept discussions excerpts to wood selections and discussions to the final completed build pics with sound samples etc.
I will post my initial requirement overview sent to a shortlist of 10 Luthiers and include their websites details, my selection process as well as the reasons for my selection to start with.

Let me answer a few potential questions at the outset before they arise:

1) Do I NEED a new or custom build guitar of any sort? NO
2) Do my playing capabilities warrant this build? NO
3) Am I good enough to even get the best out of a R1000 guitar? NO
4) Have I looked at local Luthiers i.e. South African? YES (not all but some)
5(Did I only research Luthiers in North America? No, I communicated with some in Great Britain, Japan, South Africa etc. but I made the decision to focus on USA Luthiers due to a number of aspects, not the least being the Acoustic Guitar Forum which showcased many build threads. I felt that this would be a great resource and even communicated with some members after noticing certain guitars in their signatures. I felt that the USA based builders were a safer option to me - no offence intended. I also have family in Seattle area that I planned to visit next year so that also made the decision a little easier.

Although the build has started already it will take a few posts to get to the build posts as I thought it may be of interest to go through some of the process first which led to my final selections.

I then made my final decision on the commissioned Luthier based on the following:

a) Categorising Luthiers according to budget requirements. Having a predetermined budget is essential and one learns rather quickly that there are some excellent lower priced Luthiers.
b) Response and interaction on the above
c) Reputation evident from forums, dealers, reviews etc etc (Lots of e-mails and searching)
(where possible, personal contact with owners of said luthers guitars via forums to discuss the build process, their satsifaction with the build and final product etc)
d) Reviewing galleries on the Luthiers websites – does what they consider their best or signature work match up with my requirements?
e) Available Build slots and build time. I only short listed Luthiers who personally build each instrument which means that the average build time ranges between 6-12 months depending on the complexity of build and unforeseen circumstances.

The following Luthiers were on my shortlist:

1) Paul Burner –(burnerguitars) A part time father and son luthier team who are just starting out but are already making a name for themselves.Their prices will definitely rise over the next few years in my opinion
2) Paul Woolson
3) Stephen Kinnaird
4) Tom Doerr - Tom has just completed development of a new range of innovative processes etc which sadly placed his guitars out of my budget
5) Kent Chasson - One of the front runners for the build as he is just so passionate about tone. Attended intensive Ervin Somogyi workshop on wood and tone responsiveness. Check out Ervin’s video etc on his site (ervin's) as well.
6) John Mayes - Great traditional style builds and has a fan in Steven Curtis Chapman who plays a few of his instruments. Currently busy with a SCC signature model as well
7) Peter Marreiros- Heavily influenced by his personal friend Kevin Ryan but also has several new aspects to his design as well and is a lot cheaper than Ryan. Although that won’t be for long in my opinion
8) John Osthoff
9) David Taylor
10) Michael Bashkin - I really like Michael's earthy and unique style to his guitars and have in fact reserved a build slot for August 2011. Why waste all this reseacrh on just one guitar - after that ... I'm done and will have two acoustics......for a while....I think.

What a tough decision as there are just so many good builders out there, but I know I made absolutely the right choice in Peter from Cornerstone. I originally decided on his Small Jumbo but that changed later on...

RoyC · 09-16-2010, 05:48 AM

So far I am leaning towards a choice between the Quilted Sapele, Taz Blackwood or the Wildgrain EIR. Each will have it's own tonal implications as well. A nice piece of Tiger Myrtle is also quite attractive. I already have an Indian Rosewood guitar (EIR) in the Morgan OM so will probably go for something different.

It seems from my discussions and research that the Sapele, TigerMyrtle and Taz Blackwood are all close to, or similar in some aspects to the Mahogany tonal "range" to some degree or another. So it also depends on my desired tone.

Regarding my tone preferences, I thought I would post an excerpt from my discussion on this aspect (one of numerous) with the Peter and his request to describe the guitars that stood out in my memory (tone wise):

"The guitars that resound in my memory are as follows. I am also aware that nostalgia and environment sometimes cause us to recall fantastic tone memories due to the romance of a nostalgic event or circumstance but anyway, here goes for what it’s worth …

• Late 70’s Guild dreadnought – I recall it being a brownish sunburst which was probably also mahogany but I found it lying in the case with that old “mothball” smell, at the back in a small guitar shop in an arcade. Really sounded big and yet incredibly mellow and sweet.
• A Santa Cruz Dreadnought that lived with me for just two weeks as the nut width was just like a late 70’s Strat – super narrow. The tone was also huge but I couldn’t live with the nut width and I would constantly be pulling the high E-string off the fret board.
• A Taylor K14ce with Koa back and sides and Cedar top. I purchased this from the first batch of Koa’s to hit our shores in ’97 and it was my main and sometimes only guitar until 2007 when I sadly had to sell. This guitar was just so sweet and had amazing sustain. So responsive to lead work (this led me to experiment with the TS-9) as well as finger picking. However, once the playing became a little heavier it had that typical Taylor scream (what I call their “digital” sound) on the tops. Consequently I used to play a sort of mixed muted rhythm style to try and tame the highs both unplugged as well as plugged in. It mellowed and matured and sweetened up so much over the years though but although a Grand Auditorium shape was just not suited to heavy work-outs at all, but just such an expressive guitar.

When I was looking at purchasing a new guitar or two recently, I played a Taylor 714ce, 814ce as well as the 514ce and all of them just left me cold and were thin sounding and uninspiring to me so it may well be that my tone reference has changed a bit over the years or a number of other factors as they were still great guitars.

I believe the beauty of the instrument is important yet secondary to the tonal properties. The appearance should support the tone and should never be a substitute or compromise for tone deficiencies. (Subjective again I know)

• I currently own a ’94 Martin D-35 which I purchase used a few weeks ago. The guitar is wonderful for strumming and has lots of bass which impresses on first hearing but later is apparent lacks real definition and sounds quite “muddy” while the tops are frustratingly sort of muted unless one ”digs in”. The overall sound though has a wonderful mellow tone though which is no doubt due to the age and rosewood? Now if only I could add the Taylor Koa aged sweetness, clarity and sustain to it.
• I also found a used but as new condition 2003 Morgan OM rosewood which has a wonderful “Bearclaw” Sitka top and the tops just chime like a bell when fingerpicked. The bass is surprisingly deep as well and the definition and separation of all the strings is great. However, take a plectrum in hand and this all becomes a little harsh sounding if one doesn’t use a little restraint. The Morgan also has a 1-3/4” nut compared to the Martin’s 1-11/16”. I find that changing from one to the other takes some getting used to and can’t quite figure out which I prefer at present. I seem to have more trouble adapting to the wider neck of the Morgan on occasion though.
• My “workhorse” at present is a Takamine Supernatural EAN15ce dreadnought. I thought this was fantastic until I played the other two purchases but it is great for live work with the built in tuner etc (I would not add this type of setup to a custom build as it would be criminal to cut a piece out of careful selected tone wood in my opinion. Most of my guitars have always used a Baggs UST only and I use the Baggs Para DI.

I am looking for a guitar that is inspiring to the eye and ear. While I enjoy a little abalone and would like a custom but smallish inlay, I also don’t particularly like a too dark looking or sounding instrument. I am inspired by the understated yet obvious craftsmanship and careful blend of woods and natural effects on a guitar. An impressive piece of wood is far better than drippings of abalone to my eyes. I love the idea of the intimate attraction of a good guitar that reveals more of itself the closer one looks at it. I love the idea of “discovering” the particular instrument both visually and aurally over time. "

RoyC · 09-16-2010, 06:05 AM

I originally wanted an Engelmann Spuce soundboard but was undecided about the back and sides woods. Here are a few of the options that I was considering:

1) Wild Grain East Indian Rosewood:

2) Ziricote

3) Tasmanian Blackwood

4) Quilted Sapele

RoyC · 09-16-2010, 06:21 AM

After a rather long weekend of contemplating and frequent e-mail discussions with Peter we eventually "sort of" nailed down the preliminary specs.

Considering that I have three Indian Rosewood acoustics already we decided to go with Peter's suggestion of the great piece of Quilted Sapele for the back and sides. His absolute favourite soundboard is Redwood and we have decided to spend a little more on a selected piece of "Sinker" Redwood for its tonal properties. As Sinker Redwood colours range from a Cedar like red to a dark brownish colour, I have asked Peter to select the lightest, reddish tone piece that he can get.

So the Specs are as follows:

Model : Cornerstone Zion
Back & Sides : Quilted Sapele
Soundboard : Sinker Redwood single top
Bindings : Ebony
Ryan Bevel : Macassar Ebony
Fingerboard : Ebony
Purflings : Blue Paua Abalone on top
Cutaway : Florentine
Soundport : Design to be decided

To be decided later but my initial preferences:

Rosette : Blue Paua Abalone only
Tuners : Gotoh 510 - Black Chrome with black knobs
Bridge : Std
Pick-Up : B-Band A2.2 with PreAmp UST & AST
Inlays : 12th Fret possibly

For those interested in "Sinker" Redwood here is a brief description:

"Redwood is also Known as: California Redwood, Coastal Redwood

Botanical Name: Sequoia sempervirons

Origin: Northern California and Oregon Coasts

Comments: "Sinker "Redwood is Redwood salvaged from the bottom of the Sacramento River. These logs were harvested over 150 years ago, and floated down the river to the mills. Many logs sank before reaching the mill. Minerals that leached into the wood, as the logs sat on the river bottoms for decades, create a stunning range of colors. The colors of each log are one-of-a-kind.
Due to concerns regarding fish in the rivers, salvaging of these logs is no longer permitted. As a result, the supply of Sinker Redwood is limited. Sinker Redwood has the beautiful tonal properties of Old Growth Redwood."

That's all for now - still a lot to catch up as we are already in the build phase but again, I hope this is of some interest: Any comments etc are welcome!!

jeepnstein · 09-16-2010, 06:28 AM

I've seen you over on the AGF. Keep us posted on the custom build. It's not something most posters on this board do very often because the tend to be younger or in ministry, in other words broke. I'm wanting to do a custom build myself in a few years. My front runners right now would probably include a Poling or a Henderson.

The process of buying a custom acoustic build is something many of us will never actually get to do. We do have quite a few posters who build their own electrics.

RoyC · 09-16-2010, 06:33 AM

One of the hotly debated topics around the build thread in South Africa was about me comissioning the guitar from such a distance without actually listening to the luthiers other builds etc. I will maybe post some of my replies and rationale in this regrad as well. I also have an e-mail newsletter to several interested parties in SA where I share a bit more personal inof regarding The Lords work in my life and the celebratory nature of this built - a celebration of God's goodness!!!

roscoestring · 09-16-2010, 06:36 AM

Very detailed Roy and I look forward to following your thread.
I love the pictures.

RipVanWinkle · 09-16-2010, 08:40 AM

That builder actually used to be a poster here on CGR!

**Rainer.** · 09-16-2010, 06:00 PM

I am sure that a Cornerstone guitar will sound fabulous. Any of those woods would look and sound stunning.

RoyC · 09-17-2010, 12:30 AM

Peter's response on our local forum regarding the question of custom builds, tone and off the shelf instruments that one can play first:

"Tone is a subject that comes up very often. Just like most aspects of anything people enjoy they are subjected to personal taste much like food or cars. Sure, there are good cars and good food and bad ones too but within what we call good there could be a great big area of subjectivity.

I really don't like to compare my guitars to "off the shelf instruments" but I do agree it offers a good way for one to select an instrument among a few others and pick the one that pleases us best. But we are talking a different realm of instruments here. Some (not all or most) of the worlds top luthiers offer a product altogether different. The whole experience is different as well as the process which in the end results in a totally different guitar.

What a person can expect from a handbuilt guitar is not only the end product but a journey of unequal pleasure. Let me explain....

Wood comes from different sources and a tree can yield hundreds or thousands of guitar sets. Tops or backs and sides depending on the tree. What happens to all that wood? is it all for guitar building? I can't answer that but I can tell you that a vast majority of that wood is not suitable for guitar building and from what is ONLY a very small part makes it into the small shop or my shop. What makes it a "Master" grade? sound? Color? Even Grain? How about "all of the above"? You guessed it right. The big factories buy wood at much less cost but they buy wood by containers or cants....but first the dealer goes through it and "cherry picks" the good stuff.

I don't buy wood in bulk, I buy 1 or 2 sets at a time and focus on the quality of what I buy. Some of my stash has been with me for over 5 years.

So here's a preview to a custom guitar build:

First you get to decide WHO builds your guitar. You talk with him/her and get/offer input about playing style, likes and dislikes and so on.
There is a wide variety of woods which you get to look through either in person or photographs.
You decide on body shape, accents and every little detail.
Once the build starts there is a constant flow of progress pictures and you get to see your new "baby" taking shape from raw wood to a beautiful instrument.
The builder uses his experience and shapes the braces and thins the soundboard in an effort to unleash the soundboard's potential.
The sides are bent one at a time and the neck is carefully carved by hand. Lots of passion and love are poured into an instrument....a one of a kind instrument.
The Luthier crafts every little detail. Carefully cutting mitters and cleaning every little glue that may run from a joint.
Meanwhile you see it taking place. Soon your wait is over, you can't believe your eyes.... its a guitar!!! There are no splinters or rough edges and you know you could spot your guitar from the midst of thousand others. Then you strum a chord and you realize why you waited so long. It has more presence, more volume and the tone is rich and complex. It sounds great and keeps getting better as it ages. The neck is nice and smooth and that uncomfortable forearm that kept getting numb from resting against the corner of the soundboard as you play is not bothering you any more. Man, the bevel does make a difference. You love how the back rumbles and vibrates against you as you play.... and the list goes on.

A custom guitar is an experience not really a purchase. Most my customers are sad when the journey is over. Yes, they are happy the wait is over but the whole experience left a mark on their hearts.

I hope that my passion for building guitars may be revealed in Roy's guitar and that you guys have a chance to play it some day so I can get some feedback.

Sorry about my long post but when passion takes over there's no stopping me!"

RoyC · 09-17-2010, 12:41 AM

I was originally going to get the Small Jumbo (SJ) but Peter Marreiros (the Luthier) has convinced me to rather go for the Zion with a single top as the double top stretches the budget a little too much once all the options are added up.

The specs for the basic guitar can be seen at: Zion

However Peter has suggested that, besides the normal tweaking of the bracing for tone, he will change the bracing slightly from the standard Zion in order to cater a little better for medium strumming as well. The Zion is Peters own design which is primarily focused on the Fingerstyle player.

An interesting interview with Peter can be seen here:

http://www.guitarbench.com/2009/07/2...ier-interview/

Regarding the Sinker Redwood top, Peter informed me that he selected about 20 sets from a choice of approx 100 sets a few years ago so all his sets have already been selected by tap tone.

I have selected a Moonglow set which refers to dark sinker redwood with a natural "burst" effect. The boards were harvested from a log in Northern California that had been sunken for over 100 years.

RoyC · 09-17-2010, 12:50 AM

And then Peter sent me a picture of a special piece of quilted "Moonscape" Saple and I was sold. I think it is quite neat having a Moonscape Sapele back and sides with a Moonglow sinker redwood top.