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In Phil Sylvester's words: "Nearly all my new builds these days are what I call "mutant vintage". By that, I mean they use repurposed wood from unrestorable vintage guitars. Why do I use that wood? The simple truth is that I want to build the best sounding guitars possible. Vintage guitars, even student models, often used better quality woods than are available these days. Try finding light, old growth, Honduras mahogany, for instance. Also, some of the most desirable woods can no longer be imported because of the CITES treaties. A compromised vintage instrument can not only provide the highest quality wood, but also wood that is well aged and has 40 or more years of play in time. Who has 40 years to wait for their new instrument's wood to mature to that level? So, I reuse great old instrument wood from guitars that have lost their vintage value through the various hack job mods that happened before we started respecting vintage. I find the results very exciting, certainly the most resonant and responsive instruments I have ever made.
"I've always wanted a 3/4 sized L5 for travel, but a real one, full scale, not 3/4 scale. So I built this. The body and neck are adapted from a used Benedetto Andy, solid carved spruce top, solid carved maple back, full depth. Originally I had wanted to adapt a vintage Gibson es140, but the Andy was solid wood rather than ply, a better starting point. The pickups are Rolph 57 humbuckers. The fret board is my own, Brazilian Rosewood, 12" radius, 25.5"scale. Pots are both push pull and allow any pickup configuration. Oil finish. The 3/4 Five gives the amplified response of a full sized electric archtop in a small package."
- Body: Adapted from used Benedetto Andy
- Neck: Adapted from used Benedetto Andy
- Top: Solid carved spruce
- Back: Solid carved maple
- Pickups:Rolph 57 humbuckers
- Fret board: Brazilian rosewood, 12" radius and 25.5" scale