Well, now that the cat is out of the bag with the article in A.G., I guess some info can be passed on. This has been a ten year long process getting to this point with the acoustic. Susan approached me years ago to design an acoustic since she knew I was an acoustic builder, and basically a life long Alembic family member. On this first instrument, the rules were simple from Susan. It has to have a point. My many years of experience with Alembic design philosophy and cues allowed me to touch on some of the important features unique to Alembic instruments.
My design was based off of a small jumbo I had been building for a few years, but I increased the depth of the body to give the guitar a little better bass response. I also increased the radius of the back to give more focus and definition of the low end. The top also has increased radius so there is no 14th fret hump so common with Martin guitars. Not wanting to create a boutique guitar that had a unique and incomprehensible sound like so many on the market today, I stuck with the tried and true forward X bracing pattern. Where it differs is in the depth of the braces and their thickness. The design allows for better support of the top while allowing increased area on the top for better flex and vibration. Once I had the blue prints completed, it was time for a trip to Santa Rosa. I spent some time with Bob Nelson at the Alembic factory, and we built the molds, side bender and various other jigs. Bob did a great job bending the sides with their intricate point. He also glued up a wonderful 5 ply neck made of mahogany with two purple heart lams and a maple center lam. Then it was back to my shop in So. Cal. where I built the body. I delivered it the day of Mica's wedding. It was in Susan's office for many years before I got around to having it sent back down for the binding install and fitting of the neck. I completed carving the neck, put on a Bolivian Rosewood fingerboard, crafted an ebony bridge, and put a light finish of French Polish on the guitar. From the minute I strung up the guitar, I knew I had something special here. Everything worked in harmony to give a great sound for both finger style and picking. It had a solid almost Dreadnought type power, but still responded to the lightest touch. It was a guitar that could handle virtually any playing style, and had a tone that was reminiscent of a 70 year old Martin. The goal to create a guitar that was not foreign to the ear, but was still truly unique had been accomplished.
As good as the prototype was, it was still not up to Alembic standards, and this is where Susan and Mica really applied their design aesthetics. The final design will sport a 3/4 sized Alembic crown peg head, a more Alembic flying bird style bridge, much fancier binding and purfling, a paua rosette, and a host of details which keep the Alembic hippie sandwich laminates unified throughout the guitar from the inside to the outside. As usual, only the finest materials will be used, and all bracing will be quarter sawn Adirondack Spruce. A cutaway version will also be available.
As to the request for an Omega cutout, I have already designed that, and it is in the blueprints for the Parlor Guitar version yet to have the prototype built. First things first though. The wonderful talents of all the folks at Alembic are hard at work creating a true piece of Alembic history?.the Element!
