My friend Jasper Rubenstein created this really cool four-string slide guitar from a couple of Jaguar hubcaps. If you want to get a closeup look at the details of the build, click on this link . . . 

http://jrubenstein42.blogspot.com/

Some guys are so damn creative!

Cigar Box Guitars -- Custom Creations For Sale

TotalRojo Cigar Box Guitars is a small one-man operation specializing in one-of-a-kind creations.  

My name is Jess Allred and I specialize in creating unique three-, four-, and six-string electro/acoustic guitars and mini amplifiers.   Most of my guitars are created from modern as well as vintage out-of-production cigar boxes with hand formed necks of oak, maple, cherry and walnut, and no two instruments are alike.

However, I do stray away from the roots of my little shop from time to time to create special guitars made from some interesting items like bed pans, silver serving bowls, toilet seats, and a few other items that can make a great guitar body.

And, I've been known to take my creations to a whole 'nother level, too.  I found an old cathedral-style radio at a swap meet that conjured up the idea in my head that a guitar body shaped to look like the radio would be real cool -- the result was the 'Chief', which, like all of my creations, can be seen on my web site -- http://totalrojoguitars.blogspot.com, if you're interested in having a good time.

There is no mass production assembly line in my shed.  Just me, my tools, and a little blues music.

I don't consider myself much of an artist and I'm not a luthier in the truest sense. I'm a regular guy with a passion for music, art, and woodworking, and I use a lot of hand tools and a couple power tools to bring my passion to life.

I give a lot of attention to detail, while incorporating within my builds the items that make them realistic and playable, while ensuring unique and individual character in each.

Frets are hand-seated stainless; nuts and bridges are hand formed from a variety of materials; high quality tuning machines, pickups and strings are purchased from a supplier; cigar boxes come from a variety of sources; and neck and fretboard stock is via a friend who owns a cabinet shop.

In addition to the wood shed side of my hobby, I enhance some of my creations with the other passion I've been nurturing for more than fifty years -- I hand pinstripe and flame creations to satisfy a customer's fantasy for individualism, and I even get carried away with graphic applications when the need arises.

My goal is to design and create unique and interesting instruments that sound great, look as good as they sound, and play easily, whether it be finger style or with a slide.

TotalRojo guitars are being played and enjoyed by individuals all over the U.S., and many areas of the world, from the beaches of California to the sand of Afghanistan, and as far away as Ireland and Japan.

I also create custom-ordered cigar box guitars and battery-powered mini amplifiers, which can be personalized to satisfy the owner's wishes.

They make really cool and unusual gifts to play or to hang on the wall.

"I'm sure I have the perfect guitar for you"

Don't be shy!  Think how long it took you to get this far, so don't stop now.   

Give me a call at 406-370-4090

Or, jot me a note at jallred489@gmail.com

Thanks for stopping by!

'Bigfoot' -- The Build

For several months, my sons have been saying, "Dad, you should make a guitar of your own design, you can do it!"

After kicking the thought around in my head, I decided to try it, thus 'Bigfoot' came to be.

I've been building three-, four-, and six-string guitars (sixty five in two years, so I guess it's time to venture into the unknown) out of cigar boxes and silver bowls, so why not something more conventional?  If a guitar in the shape of a foot is conventional.

Where to start?  An idea of course.  I didn't want to go the route of the Strat or Tele design, which, by the way, I really like.  And, the dreadnaught or concert style acoustic seemed a bit boring, and also beyond what I am comfortable attacking (but, I love my Martin and Ibanez guitars), and the tools are not in my shop.

So, I settled on a plank (a solid body).

After returning from a brisk morning walk, I removed my shoes, and staring back at me were my gnarly feet, and that's when the light went on and the body of my guitar was envisioned.  Ya, ya, I know, I got an unusual imagination.  I searched the web for possible ideas, and saw a photo that I liked of a similar build, so I gave it a go.

I like the Strat style neck, so off to the web to search for the perfect item, and I managed to find it, but it hurt my wallet a bit.  And, then there is the other necessary stuff, magnetic pickups, bridge, output jack, tone and volume controls, and string ferrules to hide those nasty looking metal anchors attached to the ends of the strings.  Oh, well, it's just the kids inheritance, right?

The body blank was a 1-3/4" thick piece of bass wood cut to 14" x 22" dimensions, which was supplied by my friend Art at Carrousel Works, the greatest carrousel producing company on the planet.  Why bass wood?  Because it is easy to carve, doesn't splinter, and has a nice even grain to it.  The perfect basis for an novice carver.

So, now came the drawing of a 'big' foot to fit the plank.  I didn't want just a foot, I wanted something that is a little different, which wasn't tough to pencil out -- it took me only about five minutes for the basic design, and another ten to pencil in the toenails and top relief design.

Now, to the technical stuff for the drawing.  Determine the desired neck position and shape.  Mark the center line on the body, so the bridge can be properly placed.  Then the pickup locations fall into place, because I used only the neck and bridge positions.  Once that was done, the pots and jack was easy.

Thanks to a well equipped shop, I was able to easily cut the necessary openings and recesses with Forstner bits in my drill press, and finish off the openings with a chisel.

Of course, the cavities had to be covered, so it was time to draw a scratch plate design, which was simple -- I had the other drawing to use as a reference.  The design was transferred to a 1/8" sheet of maple and cut on the trusty band saw, along with the body.  Voila, I got the preliminary makin's for a guitar body.

It's time to start carving.  I found the little Millers Falls carving tools I purchased at a swap meet years ago, sharpened them, and went to work. Little did I know that long ago that I would use them first for a guitar, truthfully, I don't even know why I bought them.  Tools acquisition is a guy thing, just like collecting guitars -- ask my friend Ty who owns GuitarFuel, who coined the phrase G.A.S. (Guitar Acquisition Syndrome).

Carving the front and the back of the body took me about 15 hours.  I think if I do another, it will be a smoother go, because I learned a few things and I feel a lot more comfortable with the whole process.  And, there will be another, probably not a foot (unless someone has enough long lean green), but certainly something interesting.

The carving and sanding is finally done, and the fitting of pieces is complete, so it's now time for the finishing. I chose golden oak stain for the body, leaving the toenails to be a bit lighter in tone (mineral spirits with oak stain added to reach just the right color).  Mahogany stain provided the desired contrast for the flame-like relief on the top.  And, the maple scratch plate got a diluted mixture of the oak stain.  The logo and hand painted name were added to the headstock, to complete things. Once I was satisfied with this, it was on to six coats of poly sanded with 1000 grit paper between each coat.

Parts were assembled and polish applied, and it's now time to fire it up on the amp.

Wow, it sounded great and played as smooth as butter.  I got lucky, I guess.  But, maybe my boys were right.

If you're interested in seeing shots of the finished guitar, click on the link below.

http://totalrojoguitars.blogspot.com/2012/06/bigfoot-has-been-found.html

Check This Out!

My friend Jasper shared a couple shots of a Telecaster he reworked to give it a aging relic look.  I don't know how it plays, but it sure looks cool.  I want one!



He also included pics of an old bike he pinstriped, which I happen to want to steal from him.   q;-)

I Gotta Learn Me Sumpin!

I've been having a great time for the past couple years creating very playable guitars from cigar boxes and other found objects -- wood planks, cookie tins, and silver bowls, just to mention a few.

It's not difficult to find something that can be used for the body of an instrument, but the tough part is in determining how it can be put to creative use.  Once the idea comes from noodling it around in my mind for a while, things just seem to fall into place.  But, this whole process can take from a few minutes to a few days, especially for me, because I don't ever want to mass produce something that can be thrown together in  a short time.  Where's the fun, adventure, and skill in that?

Recently, I've been reading where a couple builders have been turning out buku numbers of guitars, at near supersonic speed, to sell at swap meets and country fairs.  One fella claims he built a six-string in three hours.  Another guy claims to have turned out more than thirty guitars over a weekend. And, these guys claim to be selling these 'Macgits' as fast as they can flip them off the bench, and for big bucks, too.

When I read these stories, I scratch my noggin and ask myself, "What in hell am I doing wrong?"  Sure, I've sold some of my creations for a tidy sum, but none of them have been slapped together like I was boiling minute rice.  And, none look the same or have the 'rustic' appeal of being unfinished.

Hold on now pardner, before you get your knickers all twisted in a bunch.  I'm not knocking 'rustic', 'cause I think that is cool.  I just don't get the time frame, that's all.  And, I sure don't understand how these guys get big bucks for a 'rustic' bucket.

Depending on the design and the materials used to build one of my guitars, it can take me from two or three days to as long as a couple of weeks to finish a guitar. Granted, I don't work 24/7, but I doubt others do either.

So, the difference must be in the recipe.

My necks all have scarf joints and are are hand shaped for playing comfort. Headstocks are usually a specific design, which requires gluing and shaping. Fingerboards are glued to each neck, and the neck is glued to a box with custom design elements to include sound holes, bridges, pickups, switches and jacks where required. Frets are seated by hand into the fingerboard. Nuts and saddles are hand formed from various materials. And, all of my guitars receive at least three coats of hand-sanded finish, before they are polished.  And, finally hardware is installed and the instrument is tuned and test driven.

Hell, it takes longer than three hours for the glue to dry for me.  So, I guess I gotta learn me sumpin!

The 'Chippie'

A couple months ago, I found a Chippendale silver plated bowl on eBay, which I thought could be the body of a really cool guitar.

The 'Chippie' has been used, but not abused.  She is a little worn, but her body is as solid as a rock with curves in all the right places.  A bit tarnished, I suppose, but that's OK with me, 'cause she looks great.  She is smooth as silk, and comes alive at the slightest touch and encouragement.  She is not a bit bashful when you stroke her neck, and she purrs like a kitten or growls like a pit bull depending on how you treat her and if she's plugged in or not.

Well, now that I've introduced you to my new plaything, let's get on with what makes her so special.

She's a four-string electro/acoustic 25.5-inch-scale guitar tuned like the d-g-b-e strings on a standard guitar.   The action is very low, less than an eighth of an inch at the twelfth fret, which makes for simple playing.


The cherry headstock with walnut veneer is designed to emulate the design of the bowl, and the tailstock follows that design as well.  The nut and saddle are custom made from Corian, and the saddle sits on a bridge made from Spanish cedar to conform in style to the bowl design.

The neck is a hand contoured cherry extension of the headstock with a three part custom formed fretboard created from a walnut top section transitioning into a shorter cherry mid-section, and then on to an even shorter maple finale.  Hand formed frets are seated into the fretboard with small brass markers on the edge to indicate key fret positions.

The top is a thin sheet of maple laminated to a contoured ring that matches the bowl design .  A stylized sound hole is cut into the top to allow sound to acoustically escape the enclosure, and the resonance and sustain is very good for such a small enclosure.  A walnut veneer pick guard compliments the offsetting sound hole, and extends the fingerboard design onto the top.

Pop rivet grommets are inset into the top of the tailstock to guide the strings and to protect the tailstock from damage.  On the under side, the string ends are recessed for a clean appearance.  Maple strap buttons on either end of the neck underside finish off the exterior design.

Inside the bowl, I chose to install a pair of transducer pickups, which are attached to an output jack located just under the tailstock in a position that makes for comfortable insertion of an amp cord.

Speaking of an amp, this little lady sounds awesome when it's plugged in.

In addition to the custom sound hole in the top, I decided to drill smaller sound holes into the contoured outer rind, which further allows sound to escape the confines of the bowl.

Note how the ring design matches the contour of the bowl.  I thought this was necessary to give a little more life to my little lady.

This guitar is one of the more extended designs, but I am getting bored with simple cigar box creations, so I think I will continue to think outside the box.

The patina is so cool on this bowl that I had to leave it in it's original condition.  I polished it with a little guitar polish, but not enough to effect the tarnished appearance.

Not away from the use of cigar boxes, but on to more complex creations . . . at least that's what I'm thinking today . . . hell, my interest may change by tonight.   That's what makes this hobby so damn much fun . . . there are no rules.  I'm only restricted by my own imagination.

But, one thing is for certain now, I'm out of silver bowls, so I gotta move on to something else, and since I have more than 200 different cigar boxes in my shop, I'll probably create a couple more CBGs.

I hope you like what I've done with the tarnished ol' gal.

Created by my Aussie friend Jef Long

This is the latest from the stable of my Australian friend Jef Long.  I met Jef a couple years ago, while surfing the cigarboxguitarsaustralia web site.  He is one of the most creative guys I know, and he creates guitars from mostly found objects . . . wood pallets; discarded lumber; downed trees; and gawd only knows what else.  You'll note the unusual layout of the fretboard, but please, don't expect me to explain it.  According to Jef it is designed around some myxolodian concept (I think), who in hell knows, perhaps when Jef reads this he'll share the details with us.  One thing I do know is that Jef, and many other Australian builders, are some of the most creative instrument builders on the planet.   I hope you enjoy this little gem as much as I do.

'Canned Heat'

The latest creation in my stable of silver serving dish guitars is a four-string electro/acoustic built around an oval-shaped silver-plated little jewel I pickup at a secondhand store.

The neck is walnut with a fingerboard created from three pieces of wood -- maple, cherry and walnut -- hand formed into the pattern you see here.  This is my first attempt at a custom designed fingerboard, but it will not be my last.  

The scarf joint headstock is oval shaped to follow the body design.  

The body of the guitar is the dish with an oval shaped top to conform to the design.  An oak surround with maple top serves to enclose the sound chamber.  

Sound holes are the result of noodling around with a pencil, while watching my Celtics kick hell out of the Hawks, and the design works well with the oval shape of the dish.  The nut and saddle are once again my favorite material - Corian - hand formed in my handy-dandy StewMac vice . . . a great investment. 

The tailpiece is walnut laminated to the oak surround, and it serves as a trough-body string retainer. 

Located just under the string retainer is the output jack for an amp and a strap button to keep the thing from falling on the ground.

The patina on the dish is so cool that I decided that it should not be polished.  I love the way these old silver babies tarnish.

It's A Gusle

Several weeks ago I traded a guitar for a 'crazy one-string thing' (see previous post).

I didn't know at the time I traded what it was.  I just thought it was cool.  My friend Carlton sent photos, but the only thing he told me was that it need some help.  But, there was really nothing that was too far out of the ordinary.  The skin covering the bowl need to be stretched back to its original position, and the temporary wood pegs holding the skin in place had to be replaced with button-head tacks.  The tuning peg was something from a cello (I think), but I know it wasn't the original.  And the string was a piece of fishing line . . . it worked, but not what I thought should be the real deal.  And, there was no bow with which to play the 'thing'.  It needed a good overhaul and cleaning, so off I went to get my 'thing' in order.

I still think it's cool, and now I know what it is.  A Google search led me around the Internet, and I finally landed on a Wikipedia explanation.  It's a Gusle.

It's a southeastern European, most likely Serbia, primitive single-stringed musical instrument traditionally used in the Dinarides region of the Balkans.

The Gusle consists of a wooden sound box, maple being considered as the best material, covered with an animal skin, and a neck with an intricately carved head.  A wood bow (made of horsetail -- thirty horse hairs) is pulled over the string, creating a dramatic and sharp sound, expressive and difficult to master.  Often, the instruments were constructed by the singers and players themselves, shepherds, or even by specialized Gusle builders from urban areas.

The instrument is always accompanied by singing musical folklore, specifically epic poetry.  The player (Guslar) holds the instrument (Gusle) vertically between his knees, resting the long neck on one thigh, with the left hand fingers on the strings.  The strings are never pressed to the neck, giving a harmonic and unique sound.  Most lyrics center around historical figures who played an important role in history (often folk heroes who died tragic deaths), or significant historical events (mostly battles against invaders or occupying powers).

The finished Gusle   

                                                           I created the bow from a maple board and old violin horsehair.  To add a little distinction, 

I carved a head similar to that on the headstock. 

As you can see in this photo, the button head nails have all been replaced to replicate the original design, and the bridge is a specially created piece following a design I saw in Wikipedia illustrations.  The single string is a 'gut' string from a standup bass . . . a fella cannot just bolt for the corner music store to acquire parts for a Gusle.

Again, following a design from an illustration, I managed to create a tuning peg from a piece of maple and a wood dowel, which replicates the real thing.

This is another view of the nail work that replaced the temporary small wood pegs. 

And the hand carved bowl is really cool.

I doubt like hell that I will ever learn to play this thing, but I couldn't resist the offer to trade.  If for no other reason than to have it for a conversation piece.

And, I made a great new friend in Carlton Gill-Blyth.   Thanks Carl!

Banjolele

I'd never heard of, or laid eyes on, a banjolele until my friend Carlton Gill-Blyth and I traded a couple weeks ago (you probably read about the trade in an earlier post).

Isn't this a beauty?!

After I received it, I Googled it on the web, and got the surprise of my life, and a history lesson to boot.

The banjolele (sometimes called banjo ukulele or banjo uke) is a four-stringed musical instrument with a small banjo-type body and fretted ukulele neck.  "Banjolele", sometimes also called 'banjelele' or 'banjulele', is a generic nickname given to the instrument, which was derived from the 'banjulele-banjo', introduced by Alvin Keech in 1917.  Keech was an American living in Hawaii and later relocated to England.

This is the real deal -- An Alvin Keech Banjolele signature instrument, that's damn near a hundred years old.


The instrument achieved its greatest popularity in the 1920s and '30s, and combines the small scale, tuning, and playing style of a ukulele with the construction and distinctive tone of a banjo, hence the name.

The banjolele parallels banjo construction, on a smaller scale, in terms of overall construction.  They are always fretted.  Most are built of wood with metal accoutrement.  The neck typically has 17 frets and is the same scale length as a soprano ukulele.  They may be open-backed, or may incorporate a resonator.  The heads were traditionally made of calf skin, which some players preferred for the tone.  They were originally outfitted with gut strings, but nylon strings are now typically used.  It is commonly tuned G-C-E-A (C Tuning), or A-D-F#-B (D Tuning).

 Another really cool instrument to add to my collection.   Thanks again Carl.

More Music In The 'Stan'

I once again had the opportunity to ship a guitar to a Marine in Afghanistan.

Ist Sgt. John Thompson wrote today to let me know that he received it and is excited about having it.  As you may imagine, his time is consumed with the job he is doing to keep us safe here at home, but he says as soon as some of his troops return from assignments, he is going to share a photo of several of them with their guitars.  I cannot wait to see the group . . . another "Band In The Sand".

Here's a photo of John with his guitar.   Thanks John for all you do!

Check This Out!

The Irish connection is working!

Today, I received the parcel from Carlton Gill-Blyth my Irish buddy, which is the stuff he traded me for the 'Revelator' and other things referenced in the previous post.

All I can say is WOW!

I love the little Banjolele.  It is so cool.  I'll polish that sucka a little, lay on some new strings, fix the two little dings I knew about, and off I go to 'Hawaii In My Mind'.

The long-necked goose (wasn't that lyrics from a Big Bopper song? -- 'You know what I like'!) is awesome!  I don't have a clue what in hell it is, but I can tell you one thing, it is going to become the coolest long-scale bass lowbow on the planet.  The hand carving is so unique, and the overall design is outa sight.

The ale sign has to hang in my bar with a photo of Carl.  I thought for about a second about making a resonator guitar with it, but can't do it . . . it was a surprise in the care package from Carl, and deserves special treatment.

And, Carl has to be a damn mind reader!  I've been looking long and hard for a Triumph motorcycle tank emblem to use on a custom guitar body, and lo, I open the box and this little number falls out.  I couldn't believe it, but, I cannot wait to get started on that rascal.  My first bike was an 500cc basket case I got from an old guy fifty years ago.  It didn't have brakes or throttle.  No mufflers, just four-inch megaphone pipes that would blow doors down.  The front forks were shot and when I would goose it real hard the front end would lift to the max and not re-settle, which made for a thrilling ride.

But, the funniest thing was the day when my future father-in-law and I first cranked that sucker over.  My brother-in-law-to-be was only six years old at the time, and he was a real pain in the ass . . . always hanging around the garage and giving me a hard time.  It was early spring and cold out, so the garage doors were closed . . . little guy was trapped inside with us.  I stomped on the kick starter a lot to no avail, and all the time, the little guy was crowing, "It'll never run!"  He was walking around continuing his rant, when it finally started, and all hell broke loose.  The throttle stuck, smoke was pouring out of the exhaust pipes, the noise was over the top, and the little guy was running around in circles shouting, "Shut the son-of-a-bitch off!", over and over, until we could stop laughing long enough to hit the kill switch.  The kid ran from the garage to the house howling like a rabid wolf.  Then came his mother to put the hex on us, because he was cursing.  There's no escaping the influence of a mother-in-law.

Check out my new toys.

Things Are Cool In Ireland

Last Thursday, I shipped a parcel to my new buddy Carlton Gill-Blyth in Ireland via US Postal Service Priority Mail.  He received it today -- that's less than six days.  Hell, if I ship a guitar to California, it takes longer.  What's wrong with this picture?

Carl traded me a couple unusual instruments for the 'Revelator' resonator guitar and the 'Louie' amp.  I fooled him by enclosing the 'Gitfiddle' as well.

The attached photo expresses his happiness quite well.

Carl is funny as hell, and he plays a mean harmonica.  And, he also creates some very nice six-string guitars.

He tells me the hat is a Taliban surplus (I didn't ask how he got it, 'cause I'm not sure I want to know), especially since he said it needed to be washed before he could wear it (too much blood for his taste).

Carl calls me a 'nutter' (loose term for a certifiable madman), but I'll let you decide who the madman is.

One day I hope to travel once again to the Emerald Isle.  It's a beautiful land, and the people are wonderful -- as you can tell.

Have fun Carl, and play hell out of those gits.

Creating a cigar box guitar changes the way you think.


I vaguely remember going to a hardware store, a secondhand store, a swap meet, or various other commercial establishments to acquire whatever I needed for a project, without thinking about how it might adapt to a CBG. 


But, those days are long gone. 


Everything I see now rattles around in my noggin and what shakes out has nothing to do with the intent in which the product was intended . . . right down to a bag of pretzels.


It's a real dilemma.  My wife won't go shopping with me.  My friends, the only two I have left, always have something more important to do, when I suggest a fun trip to somewhere.  My sons just look at me with glazed-over eyes.  And, my granddaughters simply stare at me with silly grins.  That's the upside attention.  Store clerks and their customers gaze at me quizzically and may utter something remotely connected, like, "Gee, I never thought of using it that way."  Or, "Really!"  Even, "You're shitting me, you really plan to make a guitar out of that?"


I walked into a run down, over crowded, grungy secondhand store the other day to look around, and I spotted a bedpan that was pretty beat up.  I asked the old gal running the place if she had one that was in better condition?  She said, "Oh, I can understand not wanting to sit on that old thing, but, that's all I got right now."  "I don't plan to sit on it, but that one's a little nasty to play with", I said.  She looked at me funny, like I was from another planet and asked, "Well, just how do you plan to 'play' with a bedpan?"  I said, "Music."   She said, "You sure you don't want a trumpet, the sound may be a little more enjoyable than the oompa-roompa that comes with using a bedpan, and the mouthpiece is a little smaller, hee, hee?"  "Nope", I said, "I'm gonna make a guitar out of it, and I think the sound will be just right."  She gave me the thing . . . to get me out of the store, I think . . . before other people started to question my sanity.  It's going to make a helluva guitar.


When I see a broom, I think instantly of a Lowe bow -- one-stringed instrument played by finger picking or with a stick.  Cabinet hinges, spoons and cake servers look like tail stock string retainers to me, and some are missing from our home.  Drawer pulls suddenly become sound hole covers or bridge covers, while pop rivets look good as string guides to me.  And, everything I see somehow appears in my mind as a decoration of some sort for the headstock or box of a guitar.  A cookie tin suddenly becomes a guitar body, not quite as dramatic as a toilet seat or a bed pan, but just as much fun.


Oh, well, it's a hoot building these things, but watching the expressions on people's faces is what makes it really fun.

I Don't Get It!

I was reading various posts on Cigar Box Nation, when I bumped into something a member had shared.

He introduced us to the The Loog Guitar site.  The sales hype says "The small and innovative three-string guitar that makes it fun and easy for kids to play music."

It's a site where you can buy an unfinished wood three-string guitar kit.   The kit comes with pre-formed 18- fret neck; three simple body styles; and accessories which include nylon strings.  It's ready to build and finish.  And, it's specially priced at only $195.

He stated that the company has contracted with him to produce a CD, which it can sell as an aside to help someone learn to play a three-string guitar.  This must be why this guy, who is one of the strongest supporters of the cigar box revolution, and who plays CBGs in his CD tutorials and when he is subway busking, has decided to promote the Loog.

With the abundance of moderately priced, high-quality cigar box guitars available from a vast number of qualified builders, it's difficult to understand why anyone would  pay $195 for a simple, plain vanilla kit with no special character to it -- which they must assemble?

Swap Meet Find

Went to the monthly swap meet this morning, and bumped into a new set of CP bongos.  The guy was asking 30 bucks, but what's the purpose of going to a swap meet if you're gonna pay what they're asking, right?  It was  really cold, and the wind was blowing a gale, so I took advantage of the opportunity for bargaining.  Offered him fifteen and he took it.  These are regularly advertised for $70, so I think I did OK.  He also had an old cigar box that I couldn't live without, which will make a great guitar.

'Boogie Bowl'

Well, I'm back at it.

Several weeks ago I was rummaging around in an antique store and ran across a very old two-part silver serving  dish.  Originally, it enclosed a lidded glass bowl, but that disappeared long ago, leaving only the silver surround for me.  I thought, "this is so cool, and I gotta make a guitar out of it."  but, I wasn't sure just what I was going to do with it.

But, between fixing meals and doing laundry, while my wife was recovering from heart surgery, I landed on a plan to turn the silver dish into the reverse resonator guitar.  That's right, a 'reverse' resonator.  Most resonator guitars are wood bodies with metal resonators that transmit sound.  The 'Boogie Bowl' is the opposite.

If you look closely at the photo of the side of the guitar, you'll see that space separates the main dish from a thin piece that rested on top of the glass bowl insert (the missing part).  This separation offers a perfect sound opening so that I didn't need to cut sound holes in the thin circular maple piece that serves as the top (resonator) of the guitar.  It has a through-body oak neck with cherry fretboard and hand dressed and inserted frets.  The nut is corian, and the bridge is a Spanish cedar/balsa combo that encloses a piezo transducer pickup and corian saddle.  I designed the bridge to take on the basic design of the filigree decoration on the ring, and to add a little personality to the top.  It's a four-string, electro-acoustic, tuned to open G (G-D-B-g), and set up to be played with a slide.

I had to create a maple ring to attach to the thin silver 'lid', which is attached to the neck, and the circular top (the resonator) is attached to the neck as well.  The bowl is attached with screws that pass through the handles and into the neck, making this a very sanitary creation.  The mounting screw at the tailstock also serves to hold a strap button in place.

I'm not sure how much silver is in this little dandy, but I will tell you that when I drilled the hole for the output jack the drill bit passed through the side like going through butter, which suggests to me that it could be solid silver.  The patina on the silver is so cool that I decided to leave it unpolished, and it looks fantastic.

Now, how does it sound?  Well, it is awesome!  Very loud acoustically with a ton of sustain, and it sounds rich through my amp.  Most CBG resonators sound tinny, but this has a deep and solid sound.

Piezo Installation In a CBG -- 'How To'

There is abundant information available on the Internet regarding the construction and use of a transducer (Piezo).  But, the purpose of this 'How To' missal is skip all the technical jargon and to share with you how I utilize the piezo transducer in the creation of my cigar box guitars, to transmit sound to an amplifier.  I believe in the 'KISS' theory for most of what I do.  (Keep It Simple, Silly)

First, it is important to understand a transducer.  The transducer is a microphone, which picks up vibrations around it.  For more refined details, refer to the Internet jargon.

Generally, I use a disc piezo placed near the bridge on the inside of the box, but on occasion I use a rod piezo placed directly under the bridge on top of the box.  Placement of the rod is a little more involved, but it may produce better sound.  However, if you want the best sound transmission, use a magnetic pickup.

I buy my piezos with the lead wires already soldered in place.  There are many sources from which to purchase these, but I've found that Zinky (on eBay) provides the best product and price.  If you're a purist and are inclined to do your own soldering, one lead (positive) is soldered to the ceramic portion of the disc, and the other lead (negative ground) to the outside exposed metal ring of the disc.  The plain disc is also readily available.

The positive lead (usually red) will be attached to the positive post on the output jack, and the negative lead (usually black) to the ground post on the jack.  That's it.

However, I like things a little more sanitary than loose wires floating around, so I do a couple things to refine the assembly.  Leads on the piezo are short (about three inches long), but you will need a finished assembly to be 9 or 10 inches long to fit properly in the box you're using for the body of the guitar.  So, I stagger the length of the the wires coming off the piezo so the exposed ends are not next to each other.  Then, I add (solder) 7 or 8 inches of 24ga. wire to the existing leads to reach the required overall length.  When I've completed this, I slip a piece of 1/8" shrink tube over the wires (leaving only about an inch of each wire exposed to attach to the jack, and heat it with a hot air gun to make a tidy little assembly.  Then, I solder the leads to the jack, and I'm in business.  If you don't want to mess with the shrink tube, I suggest that you cover the exposed joints and twist the wires to make a better looking package.

Parts for this project will cost you about five bucks, or less.  But, if you don't mind throwing money around, you can buy the ready made harness from various sources on the eBay.  I've seen them offered from $12 to $24, plus shipping.  I think I'll continue to make mine, 'cause it's simple, and I don't like giving money away!

Placement -- The versatility of the piezo presents several options for placement in your cigar box guitar (stomp box, drum head, etc).  And, the piezo can be cut to a desired shape for ease of location, without harming it's effect.

It really doesn't matter where you place the piezo, because it will pick up sound.  But, what will matter is the quality of the sound it transmits.  Some builders locate it under the bridge; beside the bridge; on top of the box; on the outside of the bridge; under the fretboard; and even under the nut.  The options are many, but each will produce different results, and some may not be very pleasant.

Inside the bridge -- Good results can be had by embedding the piezo in the bridge, under the saddle (disc or rod), but a rod piezo seems to work better here, and it tends to produce better sound transmission.  Most rod piezos have a 'male' plug attached to the end.  If you want to attach leads directly to the output jack, simply cut off the plug, strip back the outside wire mesh (ground) and twist it into a tight lead, and then strip back a small amount of insulation from the inner lead (positive).  Solder each to the posts on the output jack, and you're ready to rock and roll.

Under the bridge -- A very good option, because the piezo reacts to vibration, is to place it under the bridge, sandwiched between the bridge and the top of the cigar box (soundboard).  In either of these options, a small hole must be drilled in the box for wire leads to pass through to be attached to the output jack.

Inside the box -- This is my favored solution for mounting a piezo.  Finding the 'right' location may be a bit of trial and error, and it may vary with each guitar you build.  But, I have found that if I position the piezo as close to the bridge as possible, and directly under the bass string, it generates the best sound.

However, in the process of trial and error, I've also learned that 'how' the piezo is mounted makes considerable difference in sound and amp feedback.  Some builders glue the piezo directly to the box surface.  Others encase the piezo in wood pieces that are glued to the surface.  Some even use a screw to attach it.  Many cover the glued piezo in various substances (silicon sealer, foam insulation, etc.).

What works best for me is to encase the piezo between two layers of double-sided 3-M picture mounting tape.  You know, the dense foam material about 1/8" thick and 1" wide, that comes in a roll, and has a green/white protective cover that can be peeled away leaving a very sticky surface.

I cut two squares from the roll, leaving the protective cover in place.  Then, I carefully center the back of the piezo on the sticky surface of one of the pieces.  Then, I pop the other sticky square surface on top of the piezo (the top is the part with the ceramic ring) -- voila, it's enclosed and ready to mount.  So, I now peel off the protective cover from the surface covering the 'top' of the piezo (make sure you remember which surface is the top, 'cause sound is transmitted better if the piezo is mounted with the ceramic ring surface next to the box).  With this done, there is still a surface with the protective cover in place, right?  Well, peel off the cover and apply a square piece of tinfoil (slightly larger than the sticky surface).  Rub hell out of the entire piece to ensure that the sticky surfaces are well adhered.  The tinfoil works to eliminate feedback.

The sound produced by this method is more mellow and less 'tinney' and 'scratchy', with no feedback at my amp.


Multiple Piezo Mounting -- By adding more than one piezo to your build, you will be offering some interesting sound options for your creation.  Wiring multiple piezos can be done in 'parallel' or 'series', but the recommended method is to wire in parallel (each piezo has it's own set of wires leading to the output jack), which produces more consistent sound results.

Adding Pots and Switches -- Volume potentiometers and  switches can be added to your piezo harness (a 250K audio taper pot or 500K pot can be used, but the 500K seems to work better), if you wish to control sound at the guitar, rather than at the amp.

Options -- The interesting thing about creating cigar box guitars is that there are no rules.  Experiment.  If something does not work like you want it to, try something different.  It is your individual ideas that will make your guitar unique and different, so don't be afraid to step outside the box.

You're in business!  Play hell out of your guitar, while driving your wife, kids, and pets nuts.    q:-)

Rate Your Pain!

I had the opportunity recently to 'enjoy' the medical miracle of removing an irregularly shaped stone from my kidney by way of a long and flexible instrument the size of a spaghetti noodle.

This doesn't sound too bad, right?  Well, there is a reason the ol' sawbones does this while you're in a drug-induced state.

I said the probe is flexible, and it is, just like a remote controlled noodle with a headlight to look around in your pee-pee (it's so little by the time you're asleep, that it looks like a button on a fur coat) as it travels toward your kidney.  The thing also comes equipped with a mini scalpel and small adjustable fingers to grab stuff (in my case the stone).

Imagine for a minute, all that stuff crammed into your little pee-pee.  Makes for a delightful moment, right.

It's not bad enough that they go probing around in there, but then they may decide to leave something behind (a stint) so your water works will perform better -- but it has to be removed at some point, so you live with that mind game for a few days.

But, before any of this happens, you're visited in the emergency room by a lovely young lass named Jill, who takes all your vitals and attempts to make you feel good.  Fat chance of that happening with a boulder stuck in your plumbing.

The real fun for me came when Jill asked, "Can you rate your pain for me?"

I said, "Rate my pain?  What in hell does that mean?  It hurts bad!"

Jill said, "On a scale of '0' to '10', tell me how bad it hurts."

Well, I said, "If '0' is no pain, and '10' is like a gunshot wound to the penis, I guess I'm at about an eight, and by the way I think you're a '10'."

The last thing I remember, before the sedative kicked in, is Jill smiling.  I'm not sure if she was smiling about the rating, or if it was the button she was holding in her hand.

Gotta have one of these.  Just think of the melodies that will come to mind when you're standing there doing your business.

I've Been Distracted

I've not posted in a couple weeks, but there is a good reason.


My wife was diagnosed with a serious heart condition, which required surgery.  All went as projected, and she is now home recuperating.  It will be a fairly long process, but the prognosis is good.


So, please hang in there with me and don't go away because I'm a little tardy in sharing more creations or ideas.

They're Doin' It In South Africa

My friend Art took this photo recently while on a trip to Capetown, South Africa.  

Marv's Idea of the Blues

I was pleasantly surprised a couple days ago, when I received a note from my 'old' friend Marv.

He writes occasionally, but most of the time it is to share political crap that is so far right that I have to turn around to read it.

But, I just smile when I read the garbage Marv sends, because he has a great sense of humor and shares some really funny shit some times.  And, besides, he's my friend.

We've been buddies for more than fifty years, although we lost track of each other for a long time.  He was amassing a dynasty of barber shops on the left coast, and I was running like hell on the corporate fast track, to stay ahead of the wave.  Marv cut the best flattop west of the Mississippi!  I could tell some wild stories about our youth, but what happens in the barber shop, stays in the barber shop.

We reconnected a while ago, thanks to my other friend Jim, who recently passed away.  RIP, Jim.

Marv knows I build cigar box guitars, and a short time ago he asked me to create a guitar for his grandson.  I guess that got him to thinking about music, 'cause in his recent missal, he shared a poem that will soon become the lyrics for my latest blues tune.

I goes something like this . . . .

Susie Lee done fell in love,
     She planned to marry Joe.
She was so happy 'bout it all,
     She told her papa so.


Papa told her, Susie gal,
     You'll have to find another.
I'd just as soon yo' mama don't know,
     But, Joe is yo' half brother.


So Susie put aside her Joe,
     And, planned to marry Will.
But, after telling papa this,
     He said, 'There's trouble still'.


You cannot marry Will, my gal,
     And, please don't tell yo' mother.
But, Will and Joe, and several mo',
     I know, is yo' half brother.


But, Mama knew and said, my child,
     Just do what makes yo' happy.
Marry Will, or marry Joe,
     'Cause, you ain't no kin to Pappy!


Thanks Marv, you da blues lyrics maven.

Will I Live To See 80?

I recently visited my primary health care doctor.  After exhaustive lab tests, he proclaimed I was doing 'well' for my age.  I just turned 71.

A little concerned about his comment, I couldn't resist asking him, "Do you think I'll live to be 80?"


He asked, "Do you smoke tobacco, or drink beer, wine or hard liquor?


"Oh, no!", I replied.  "I'm not doing drugs, either!"


Then he asked, "Do you eat rib-eye steaks and barbecued ribs?"  I said, "Not much!, my former doctor said that all red meat is very unhealthy!"  "Do you spend a lot of time in the sun, like playing golf, boating, sailing, hiking, bicycling?"  "No, I don't", I said.

He asked, "Do you gamble, drive fast cars, or have lots of sex?"  "NO!", I said.

He looked at me and said, "Then really, why do you even give a shit?"