Back, preamp, and access panel

Here's the finished back, almost ready to glue to the sides.

But first, Kirk cuts the access panel for the preamp (because this is an electric nylon string guitar, don't you know). You can see the tracing for the cutout below.

My guitar will be amplified with a Prismatone II pickup. My friend Sam Kennedy has re-created the Prismatone, as used by Jerry Reed and Chet Atkins. Paul Yandell said he thought it was the most balanced sounding pickup he ever heard. Sam has also designed a special preamp for my guitar which incorporates the original circuitry, plus volume control and 3-band EQ. The preamp will be accessed through- you guessed it- the access panel, and the slider controls will be on the top of the guitar.

Back to the access panel, after Kirk cuts the opening, he reinforces it with rosewood.

Two sides completed...

Gluing up the other two sides.

My guitar drying...

Both guitars done.

Looking good.

View from the outside. The wood Kirk removed will become the door for the panel, which will rest on the rosewood supports.

Finished and ready to join!

Well, maybe next time we'll glue the back!

-Craig

Choosing the wood

When we set about designing my signature model guitar, one of the first questions Kirk Sand asked was "What kind of wood?" I have always liked flamenco guitars, so I replied "What about cypress?" 

"I love cypress!" Kirk enthused, and we were off. He found some beautiful Mediterranean cypress, and I chose a set for the back and sides. (Kirk says it smells as good as it looks.)

Back in the 1980's, I owned a Martin D-35, which had a three-piece rosewood back. Borrowing the idea, I suggested a three-piece cypress back to Kirk. "Why don't we do a Brazilian rosewood wedge?" he asked. I agreed, and he selected a gorgeous wedge of Brazilian from his private stock. Here is the cypress/rosewood/cypress back, glued up and template traced.

We decided on a Sitka spruce top, and Kirk drew a template to my specs. I wanted a cutaway somewhere between Django Reinhardt's Selmer-Maccaferri and Jerry Reed's customized Baldwin electric classical.

Here's a closer view of the top template. The deep cutaway will allow plenty of access to "the dusty end of the fretboard" as Chet Atkins used to call it. 

The design also gives me an extra fret on the first string. Guess I'll have to work up a lick using that note.

-Craig

The journey begins

I've been playing a Kirk Sand nylon string electric guitar since 1993, when I recorded the CD for my book The Guitar Style of Jerry Reed (Hal Leonard Publications, 1994). That guitar (pictured above) was borrowed from my dear friend and mentor, Clyde Kendrick.

In 1996, I took delivery of my own Sand (just like Clyde's guitar), and it's been my main instrument ever since. Through the years, Kirk has become a good friend, and we've talked guitars and exchanged ideas quite a bit. 

About three years ago, Kirk said "I think we need to do a Craig Dobbins signature model." Thinking quickly, I agreed. So, fast forward to 2013, and Kirk is building the prototype of the Craig Dobbins model. I'll be posting photos of the progress, and Kirk will comment from time to time. I hope you'll join me on this exciting journey.

-Craig