jfmckenna wrote: Seriously... I have no idea what is going on there but I'd love to play that thang'.
That rather minimalist guitar was an experiment that didn't work. But it was a failure that led to another experiment which has sold reasonably well, and for a decent price, and is probably my most "shared" design on the web.
Som folk like the inlay process. To them, a guitar without inlay is an anathema. But it's different strokes for different folks. I've always thought the term "tasteful inlay" was something of an oxymoron. In 30 years I've never inlaid anything more than a pearl dot. I've never put a logo on any of the hundreds of instruments I've made. And I never will. My boss didn't on the hundreds of instruments he has made, so the habit never developed. And I see no need. Whatsoever. I know who made it! And it kind of works in my favour. Often at gigs, people will go up to a customer of mine and ask who the instrument is by - because they couldn't see the name on the head.
Mind the last year, I backpedaled a bit from extreme minimalism. It's not as commercial as I would like. So I started using herringbone again. And it was nice. It feels quite nostalgic. Like the stuff I was making in the late 80s.
This is about as fancy as I get:
Generally speaking, I see the materials as sufficient luxury:
To my eyes, nice clean lines, clean joinery and nice woods are enough. Even something simple like this is pleasing to the eye:
Nigel
http://www.nkforsterguitars.com
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