THE FREE SPIRIT:
AN AMAZING GUITAR THAT SOUNDS
AS GREAT AS IT LOOKS!
Brazilian Rosewood back and sides
Brazilian rosewood fret board, headstock cover and bridge -This wood
came from the same board that has been air dried in Colorado for over
Sitka Spruce bear-claw figured sound board
-Honduras Mahogany neck
-Ebony Cut-away side -laminated curly maple bindings
-Paua abalone inlay in neck and headstock and sound holes
-Curved paua inlay inside the bindings around the body
-Vintage style brass Waverly tuners
-Ebony pearl dotted bridge pins
-Build in L R Baggs deluxe acoustic equalizer pick-up.
-High gloss guitar finnish and wax.
MOVEMENT, MOVEMENT, MOVEMENT!
This guitar is artistically designed
with the" movement" and fluency of music in mind
-This is a further development
of the idea from a previous guitar which I named: "THE
GUITAR FROM HELL" On this guitar, I designed
and cut the sound holes to be like consuming flames
on each side of the fret-board.
-The sound holes of the FREE SPIRIT were specifically designed for multiple
1- As a addition to the overall " fluency
and artistic looks" of the guitar
2- Enhance performance and sound
- Sound waves move and act very
similar like water, so I worked on the idea to bring
this out visually, and incorporated the fluency of
this movement into to the overall guitar design
-The "water like sound" fluency
is visible in the inlay pattern of the abalone pearl
inlays in the neck, going from the headstock down,
moving in the form of wavy droplets from the fret
board onto the the sound hole pattern and the bridge.
-I find that the sound rolls out "softer" meaning
warmer edges , but not less louder. This is comparable
to the sound of " softer running water " coming out
of a shower head with multiple fine holes, as opposed
to " harder running water " coming out of a larger
faucet in a bathtub.
- The sound-holes have a wide mouth
as out going source therefore the holes on the opposite
side act like stereo speakers !
The lower tones come out
the bass side, and the high tones come out the treble
side, and the mid range seems to go out in all direction.
You can hear the difference very clearly by standing in the opposite
side of the room while the guitar is being played.
The Free Spirit has definitely
a more distinguished sound clarity because of this
elaborate sound hole pattern.
-The sound hole set up also let
the player experience a bigger and broader hearing
range coming right out the front and top of the guitar
while being played, thus acting more directly like
a better self hearing monitor. It is truly amazing!
THE ASYMMETRIC BOTTEM BODY
This is done from the idea
to bring two guitars shapes in to one!
Note that the treble side from
bottom to cut-away is quite a bit shorter that the
bass sidet This ads to a deeper stronger bass and
The bottom half looks visually very different and more rounded than the
top half while keeping a nice esthetic playing balance.
Strap the guitar on your body you' l see what I mean, it will give you
the tendency to swing of into the future ... away from your body with
the music being played! sit down playing: it holds very nice and firmly
on you knelt and it looks like the guitar is really hugging the player
over the bottom side of the knee.
Overall this guitar has great stage presence ! The I beam pick up is
mounted inside under the saddle and has everything and many tone possibilities
you can imagine adding to great a acoustic balance.
THE INSIDE BRACING
This is mostly done in the classic
cross bracing Martin style
Although, I had to rethink and
redesign the bracing pattern inside, especially right
under the fret board. Because of the sound holes,
this is were the strength of the soundboard is "most
to the total guitar strength.
So extra bracing was needed, however
the secret of a good sounding guitar is how the soundboard is
braced . This translate into bracing made as lightly as needed
not to compromising and therefore loosing the overall guitar
I used two different bracing woods:
Under the fret board, from the main sound hole up to the neck were the
extra straight was needed I used Sitka Spruce bracing because of the
particular strength to ratio of this wood.
From the main sound-hole toward the bottom, the bracing , this includes
the main cross bracing , is made from Spanish Cedar which is adding to
the guitar sound, which gives it the specific color and character of
It is the common denominator of all the sound, ( brought on by plucking
the strings) of the woods used together in combination in the guitar
and the craftsmanship of the builder is what ends up creating the particular
and specific color tone of the guitar.