Inspired by John Lennon's Gibson J160e
The guitar was commissioned by a working professional who has a love of the Beatles and, in particular, John Lennon's guitar. The brief was simple. Take inspiration from the J160e but put our own spin on the design.
Details
Just like the Gibsons of the day, this guitar has a sloping shoulder profile and a 'belly up' bridge (rotated 180'). The bracing is typical of the era but slightly shifted backwards. Gibson style inlays adorn the fret board and the guitar is connected at the 14th fret. Of interest, is that the J160e is connected at the 15th fret.
The guitar features Australian tone woods throughout.
Soundboard: Tasmanian King William Pine (King Billy),
Back and Sides: Blackheart Sassafras (see additional photographs - this wood is stunning)
Neck: Queensland Maple
Fingerboard: African Wenge with Queensland Maple binding
The neck has a 'C' shape with a slightly thicker profile typical of the early Gibsons.
The head stock has an African Wenge face with vintage open Grover tuners.
The guitar is bound with 80 year old Jarrah and Jarrah is also used in the neck pin stripe and guitar back.
Scale: 25.4"
Nut Width: 45 mm. Slightly wider than a traditional 1 3/4 " (44 mm)
Truss Rod: Double action, adjusted through the headstock
Neck Joint: Dovetail joined at the 14th fret
Finish: Traditional Nitrocellulose (Semi-gloss)
From John Gabb's Otway farm to a beautiful all Blackwood guitar
John's farm has provided pine for a previous guitar in the Working Dog range. This time we have procured a number of Blackwood logs that have been split into billets and left to dry. Then milled by Working Dog Guitars to be used for every part of this guitar, with the exception of the fingerboard, bindings, purflings and headstock face.
Koa (from Hawaii) has been used previously to great effect as a soundboard. Since Blackwood and Koa have very similar acoustic and physical properties, we decided to build an all Blackwood model that has not disappointed us with respect to aesthetics, volume and tone. This guitar is loud for an OM model and will age beautifully. This guitar was auctioned at the Mt Hotham Ski Patrol Big Gig auction which was held 12 August, 2017. Email us for a price list.
Details
Orchestra Model (OM) featuring solid Victorian Otway Blackwood back and sides, Solid Otway Blackwood sound board and traditional Spruce bracing.
The neck is made of Blackwood, 'C' profile with an African Wenge finger board (substitute for Ebony) with mother of pearl dot and diamond inlays.
The finger board is bound by Queensland Maple.
Head stock has an African Wenge face with vintage open Grover tuners. It also features Blackwood 'WD" inlays as a departure from our standard logo.
The guitar is bound with 80 year old Jarrah and Jarrah is also used in the neck pin stripe and guitar back.
Scale: 25.4"
Nut Width: 45 mm. Slightly wider than a traditional 1 3/4 " (44 mm)
Truss Rod: Double action, adjusted through the headstock
Neck Joint: Dovetail joined at the 14th fret
Finish: Traditional Nitrocellulose (gloss)
Commissioned by the Mt. Hotham Ski Patrol that was auctioned at Mt. Hotham on 13 August, 2016 to raise funds for the provision of much needed rescue equipment.
Dreadnaught Model featuring solid Tasmanian Blackwood back and sides, North American Spruce sound board and forward shifted scalloped Spruce bracing.
The neck is made of Queensland Maple, 'C' profile with a Rosewood finger board with mother of pearl 'Tree of Life' inlay.
Head stock has a Blackwood face with sealed high end Gotoh tuners.
Sadle, end pins and nut are bone.
The bracing has been moved forward towards the sound hole emphasising the base response without being 'boomy'.
African Wenge is also used for the neck, back and sound board stripes.
Scale: 25.4"
Nut Width: 1 3/4 " (44 mm)
Truss Rod: Double action
Neck Joint: Dovetail joined at the 14th fret
Finish: Traditional French Polish (Shellac)
Made for a close friend to replace his old faithful guitar.
Dreadnaught Model featuring solid Mahogany back and sides, Queensland Bunyia Pine sound board and forward scalloped King Billy bracing.
The neck is made of Queensland Maple, 'C' profile with an African Wenge finger board (substitute for Ebony) with mother of pearl dot inlays.
Head stock has a Blackwood face with sealed Grover tuners.
Sadle, end pins and nut are bone and the scratch guard is made from African Wenge.
The bracing has been moved forward towards the sound hole emphasising the base response without being 'boomy'. This guitar was made for a client that loves to play at parties.
Scale: 25" (Shorter scale helps make this guitar very playable without compromising the tone)
Nut Width: 1 3/4 " (44 mm)
Truss Rod: Double action
Neck Joint: Dovetail joined at the 14th fret
Finish: Danish Oil, Polished
Orchestra Model featuring solid Tasmanian Blackwood back and sides, Tasmanian King William Pine (a.k.a King Billy) sound board and traditional scalloped King Billy bracing.
The neck is made of blackwood, 'C' profile with an African Wenge finger board (substitute for Ebony) with mother of pearl dot and diamond inlays.
Head stock has an African Wenge face with sealed Grover tuners.
Sadle, end pins and nut are bone and the scratch guard is made from African Wenge.
The sound board is from sub A grade stock that has imperfections but has not affected the rich tone from this guitar in the slitest. As a result, the guitar has an attractive grain pattern that sets it aside from others.
Scale: 25.4"
Nut Width: 1 3/4 " (44 mm)
Truss Rod: Double action
Neck Joint: Dovetail joined at the 14th fret
Finish: Danish Oil, Matt
Gotoh Humbucker pickups gives this guitar a 'dirty' overdrive that is unique. The wiring schematic is a 'Jimmy Page' variation of the traditional Les Paul style.
The body is solid Mahogany with a Rosewood fingerboard and Queensland Maple neck. I used a hardtail variation for the bridge.
The headstock has a Redgum faceplate and the tuners are leftover Fender 3 + 3's
Scale: 25.5"
Nut Width: 1 3/4 " (44 mm)
Truss Rod: Electric guitar, one way
Neck Joint: Bolt on
Finish: Danish Oil, Polished
This dreadnaught Model is constructed with 100% reclaimed timbers. Incorporating a cutaway to reach the higher fretts. The neck is made of multiple Blackwood peices and, depending on taste, gives the guitar a special look. Two Redgum neck stripes support the neck.
The guitar featuring solid Tasmanian Blackwood back and sides, Victorian Ottway 'wind breaker' pine reclaimed from a friend's property. Forward shifted scalloped King Billy bracing.
The neck is slightly 'D' profiled with a African Wenge finger board and rosette (substitute for Ebony) with mother of pearl dot inlays.
Head stock has an African Wenge face with sealed Gotoh tuners.
Sadle, end pins and nut are bone and the scratch guard is made from black perloid.
The bracing has been moved forward towards the sound hole emphasising the base response without being 'boomy'. This guitar was made to illustrate that great tone doesn't neccessarily require AAA quality tone woods. This guitar has aged in tone beautifully and will remain in my 'quiver'.
Scale: 25.4"
Nut Width: 1 3/4 " (44 mm)
Truss Rod: Double action
Neck Joint: Dovetail joined at the 14th fret
Finish: Traditional Nitrocellulose
This prototype is the first acoustic guitar that was built by Working Dog Guitars. It is constructed using 100% construction grade Oregon reclaimed from our rear pergola after it rotted.
It does, however, boast Rosewood fingerboard, bridge and scratch plate. The neck is made from reclaimed Redgum (our old house stumps) and it certainly doesn't need a truss rod. However, a one way truss rod is fitted.
The sound hole is offset to maximise the soundboard area.
How does it play? Better than I expected although the sound is bright. Oregon as a sound board is probably too stiff in the thickness I used.
Another feature is the 'through the sadle' guitar string attachment.
