A look inside:

The first thing most people notice when they look through the soundhole is a triangular truss of carbon fiber tubes inside the box. This is a a strong and lightweight way to help support the neck load.

Supporting the neck load with the internal truss allows me to float the fingerboard extension above the top. The upper bout is now much freer to vibrate.

With the fingerboard free of the top, it’s now possible to adjust the neck angle with the turn of a screw. This allows the player to make seasonal adjustments to the action while leaving the saddle at its optimum height.

This shows a couple of the ways I reduce weight. I recently started using capped kerfed linings. The black veneer cap creates the stiffness of solid linings with less weight. I also laminate my end blocks and drill holes to reduce weight. This creates strong, stable end blocks while removing almost an ounce of mass. Little things add up.

Elements of this design have been influenced by the work of many other builders. Similar adjustable necks date from Stauffer guitars in the mid-1800’s to Mike Doolin’s contemporary instruments. Rick Turner is probably most responsible for originating the use of carbon fiber tubes to support the neck block.