I’ve just began a new set of triplets, and the first on the list is a transitional J-45-inspired slope-shouldered dreadnought for Devin. It will feature a beautifully figured Tasmanian blackwood (Acacia melanoxylon) back and sides set and a primo red spruce top from Old Standard Wood. After letting the woods adapt to my shop environment (the back and sides came from an Australian tonewood company), I’ve joined the top and back plates and selected a Honduran Mahogany neck blank from my collection of seasoned neck wood. The next jobs will be bending the woods for the rosette, routing and installing the rosette, and then my favorite task: thicknessing the top and back plates and bracing them.

 

The front of a slope-shouldered dreadnought guitar
This new model is a friendly homage to the great banner-era J45s.

I never planned to build a guitar this large, but 2020 was a pretty strange year all around, including in my wood shop. When the right person asked if I’d build a J45-like guitar (and convinced me that it would be a blast to play), I caved.

I’ve played and repaired many slope-shouldered dreadnoughts over the years, and based this new model on the best one I’ve ever played, a maple-bodied banner-era J45. It belongs to Jim Nelson, a terrific old-time fiddle accompanist from the St. Louis area. What makes that guitar so great is that it has a dry, fast sound with a touch of a devil-may-care edge to it, while avoiding the trap of tubbiness so common in this shape of guitar. It’s a terrific specimen of the git-r-done aesthetic of the war-era J45s.

The most sought-after examples of J45s were built during the war years (World War Two) with pretty much whatever materials were available, and on a budget for cash-strapped players. They built a reputation as a blue-collar guitar that was never intended to be too sophisticated or elegant, but was ready to play when you were. I respect the come-as-you-are aesthetic of these instruments, and tried to hew close to the original unfussy, make-it-work ethos, in part by using sustainable domestic woods. Continue reading “No 27 – Adirondack Spruce and Red Maple”

Two guitar tops for size comparison
The J45 (underneath) is the largest guitar I’ve ever built. The soundboard on top is for a grand concert, which is not exactly a small guitar.

I’m currently building a pair of commissioned guitars and having a great time because the two instruments have such different goals.

The first is a jazz machine: I’m shooting for the strong, independent voicings and fat, certain trebles I’ve seen in several of my previous builds. This one is a Grand Concert size 12-fret with a red spruce top over a double-wall sugar maple rim and back, one of my all-time favorite combinations.

The other is a street fighter, with plenty of confidence and swagger, lots of low-end thump and a devil-may-care attitude about clean trebles. It is inspired by the best J45 I have ever played, a maple-or-maybe-birch-backed “Banner era” belonging to one of the best old-time guitarists around. My build is a red spruce top over a red maple rim and back.

Serial Number 26, a grand concert in sugar maple

Serial Number 27, a J45-style guitar in red maple