The Beauty of the 3 Carved Museum Masterpieces
"Dragon" L5-Acoustic
"Hawaiian Paradise" L5-Acoustic
"Rhapsody" L5-Acoustic
The top is Engelmann spruce carved after the design of original 1938 L-5 guitar I borrowed from Mr. Mike Stanger. It was one of the finest sounding Natural Acoustics from the pre war era I had ever heard or played. It was this guitar I have copied for the basis of all our “Arch Tops”.
The back and sides for these guitars is the finest Western (Big Leaf) Maple from Washington State or Canada.
The Back shape is also a copy of Mr. Stanger’s guitar back. With additional wood left for the carving to be done.
The Neck is of Eastern Hard rock Maple and the fretboard and headstock are of the finest black ebony.
The raised carvings are all done by hand using traditional tool. Chisels and small scrapers. The inlay is drawn by me and I hand cut it out on blanks of Mother of Pearl or Abalone using a jewelers saw then with a rotary tool is let into the Ebony of the fretboard and headstock.
The design for each of the three guitars you have are each one of a kind art pieces and will never be duplicated by Gibson!
The designs of the carving and the inlay pattern on each of the three carved instruments to be reflective of each and continue the theme of each through the top/back and neck. The fretboard and headstock inlay as well as the tail piece.
- Ren Ferguson -
The Making of the Super Custom Series
Ren Ferguson's Diary
Super Hummingbird Custom:
#858 (Back & Sides: Koa)
Koa is gorgeous wood. With its highly defined curl and beautiful modeling of stripes throughout the field of golden to chocolate browns its beauty often sells the guitar before even a single note is struck.
This however is a shame as the sound is fully bright and very warm. You just gotta love this wood!!!
Its' an honor to even view wood like this not to mention being allowed to work with.
It comes from Hawaii and only above about 1500 meters and can only be harvested as "DEAD or Dying" that MEANS NO LIVE TREE COULD BE CUT DOWN AND IS PROTECTED BY LAW.
Our partner and vendor will fly at once to view trees damaged in ice storms that often hit the northern sides of the highest mountains in search of trees that have been damaged so he can arrange to purchase this rare wood for our continued use.
#859 (Back & Sides: Quilted Maple)
This set of wood is harvested in Washington State between 25 meters and about 500 meter’s and always where fresh water flows directly to the sea. The trees are large and usually only one side will have this outstanding figure and one side plain wood. Much of this wood is harvested and allowed to stain from the sugar in the sap starting to ferment in the wood and with time a ruddy/reddish hue can alter the beautiful clear light highly figured wood.
This wood to ratain the vibrant clear color must be sliced and dried on a frantic schedule. Sometimes when a sawyer brings a block of the finest grade wood in everything stops and the processing of the wood begins. To be able to save as much of the whiteness as possible.
Occasionally it first frozen in the rough blocks until enough of the lumber has been collected for a complete drying plan can be activated.
#860 (Back & Sides: Palo Escrito)
This guitar is made from “Palo Escrito”. This wood was found in Southern central Mexico and is often used in native classical guitars.
It is very stable and machines well. It has a pleasant aroma while being worked and sanded but the wonderful thing about this wood is the sound.
It has a very warm but a much clean, clear and distinct tone.
It so interesting in its figure and I have only offered a couple of the best figured set as customs. This is # one!
#861 (Back & Sides: Indian Rosewood)
It is made from Indian Rosewood that I had cut on a trip to India in 03’.
The specifications for generations was for as straight grain as possible and it meant I needed to travel to India and from the selection of the logs in the Government Depots I had to be there all the way to the mill and supervise the cutting to insure I would get these types of woods.
Some are found in the stumps some where a limb leaves the trunk but have always over looked due to the difficulty in the drying process.
Most wood in these very thin dimensions will crack readily when dried too rapidly by working the wood at the incorrect time of the year. No one ever wants to loose the wood product but even in India where labor is very little no one would think of wasting it and so now we work together on the entire process of harvesting the wood through the entire cycle of wood purchase at the auction yard to the back of your guitar.
This guitar is made from the very first shipment of about 12 sets of the finest and most striking Indian Rosewood I have ever seen.
#862 (Back & Sides: Ziricote)
Ziricote is an incredibly beautiful wood with the all drama of the figure. It is a little warmer in tone. This wood is from Southern Mexico and figured as this set is as its best. The highest grade is only available very occasionally.
#863 (Back & Sides: Movingui)
Difficult wood name to pronounce. I found this wood while on a wood buying trip to Germany in 02’ I was only allowed to purchase 10 sets and told if this wood (from Africa West Central and a little bit south) could be found again I could have first choice. No more of it has to date ever been offered.
I used one set for one of the zodiacs collection in 2006 exclusively available to Tom Lee Music only, worldwide.
Anyhow when I taped the raw wood at the sawmill it just sparkled and rang out. Great sustain. The sound is very bright (Maple like) but with the edge of gravel of both Mahogany and warmth of Koa.
Truly distinct in color and figure and more than extremely rare.
Super Doves in Flight Custom:
#864 (Back & Sides: Quilted Bubinga)
This one of two set of this magical wood from a tree. These trees are straight and tall with good girth. Yields are usually high of very stable for lumber.
Again this is from the Dark Continent of Africa and one of those species of wood that can do it all from the interior of Lexus Automobiles to the veneers in the finest building and homes all over the world to furniture and musical instruments.
I found only the two sets of wood at one our custom vendors in California on a trip to look for some Claro walnut. When I saw the first set I told the owner I would gladly take it all. He agreed and handed me the other set and asked that I use it wisely as I had all there was. I think I have. There will never be a set like this ever duplicated. It is just awesome and looks like something like the bubbling hot pots just south of us in Yellowstone National Park.
We have been successfully using this wood (Bubinga) for many years but even when we are fortunate to get some with figure it can’t begin to compare. This set of wood with the lighter sap streak and full coverage quilt is more that 100 times as vibrant as the best we have ever been able to offer in the past. Treasure it!
#865 (Back & Sides: Malaysian Blackwood)
I bought 3 sets and all 3 were beautiful sounded great when taped for tonal response.
This wood is most similar to the Ziricote but not as heavy in weight nor as dense in cell structure. It has a sound more closely akin to the Koa of all woods. A little darker and slightly subdued while still quite articulate in response to the touch. I think this guitar will record very pure and clean.
#866 (Back & Sides: Macassar Ebony)
When one thinks of "Ebony" most of the uses in the musical instrument field are for the use of Fingerboards and Bridges or even a collection of wind instruments.
But the version we have in Macassar is neither Black dense or suitable for any of the traditional uses of "Ebony".
I find the swirling figure of some select sets to be almost inspirational and could demand a some be penned to relate all that is trapped in this beautiful.
Macassa Ebony is a true ebony but it has more of an opera cell structure than say "Gaboon" which is often Jet Black. As you can see this has the warmth of tan tones and hues of rust and like smoke across the floor or sky seems to be always taking you somewhere.
This guitar will give anyone the chance to travel to places they have yet visited with any other guitar they may have or dreamt about.
Listen to the sensitivity of this wood please and then I think you will agree.
#867 (Back & Sides: Madagascar Rosewood)
Here at Gibson it is the best representative of the rosewood family to replace the old stand by Brazilian.
Madagascar is a little lighter in color than some Brazilian and the specific weight may run a fraction higher but it’s the tone that is why we have gladly adopted the wood so readily.
It is the clearest and purest of the rose wood family for it’s tonal response and sometimes is a little scary as it seems to magnify any deficiently in the players ability. This wood is so good sound wise THAT ONLY THE CHOICE OF FIGURE AND COLOR ARE OF CONSIDERATION when a guitar is requested.
#868 (Back & Sides: Zebrawood)
Zebrawood also comes from Africa and is found in a more of a temperate environment that the darkest Jungles. The trees grow straight and large and much of this beautiful wood is harvested for all kinds if uses.
From veneers to furniture. It also finds it way into musical instruments.
While the trees are so straight and true a great yield can be had from one log and could all be put to use for musical instruments. Only a few manufactures have given it a fair chance. Probably because its usually all grabbed by the competitors for other products.
I have hand selected this wood as to be one of the premium sets in this collection.
I also have used it for one of last years Summer Jam special at the Event Custom Shop throws each summer. Of the 90+ guitars offered it was the first sellout due to the beautiful color and sound.
I find it available and consistent for great sounding guitars.
#869 (Back & Sides: Indian Rosewood)
The Highest figured wood cut in India after my trip in 03’ Much in the story already is stated about the Hummingbird in Rosewood but I will add that when we use woods selected for figure it is always prefaced with the need for these to be "Tone WOODS" after all it is a musical instrument we are creating and its beauty should be an after thought to the performance of the Guitar. It is with these!
I am lucky to be able to take part in so many aspects of the industry from procurement of the materials, building and to the playing of some of the finest guitar made in the world.
The owner of these guitars will join with me and everyone else along the way who has had the pleasure to handle and appreciate this for what it can be.
It’s more than strings, wood, function and art.
It’s freedom and a chance to loose ourselves for a time in pursuit of pure Joy!
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The Making of Gibson Montana Acoustic Guitars
1) THE GIBSON ACOUSTIC PLANT: BOZEMAN, MONTANA - In this unobtrusive building in the heart of Big Sky Country, the artisans at Gibson Montana build the finest acoustic guitars in the world. Join us for a tour.
2) THE "RESAW" AREA - A Gibson Montana guitar begins as raw wood stock in the "Resaw" area, where the various woods are cut and planed to their approximate shapes.
3) BOOKMATCHING A TOP - Matching wood grains is a combination of art and science, requiring a practiced eye. The wood shown here is cedar.
4) INLAYING THE SOUNDHOLE ROSETTE - The patterns range from simple rings of purfling to more elegant designs in abalone.
5) INLAY PIECES - Some ornamental inlay pieces are painstakingly cut by hand.
6) FORMING THE SHELL OF THE BODY - The two ribs are joined together with a headblock and tailblock. Wood kerfing is used to strengthen the connection between the ribs, top and back.
7) BENDING IRONS - The guitar's rims or side pieces are bent into shape with custom-built bending irons.
8) BODY MOLD - A body mold secures the rims of a cutaway model for the neck block to be glued into position.
9) FITTING THE TOPS - Scalloped top braces are glued to a bookmatched guitar top with the aid of a special design vacuum press.
10) FITTING THE TOPS - Guitar tops "in the white" are ready to be fitted to a body.
11) DRYING - Tops and backs are clamped evenly around the perimeter of the body while the glue dries.
12) NECK SHAPING - A Computer Numeric Control (CNC) machine does the main shaping of the necks. The final shaping of the neck is still done by hand.
13) NUT FILING - The slots where the strings pass through the nut must accommodate the different diameters of strings, and this work is done by hand with a special file.
14) FRET INSTALLATION - After the frets are pressed in, they are trimmed to the edges of the fingerboard and filed smooth.
15) CLEANING - Any excess glue from fret installation is cleaned from the fingerboard with a scraping tool.
16) FINGERBOARD BINDING - Some models receive binding on the edges of the fingerboard. The heating element in the right foreground is used to soften the binding so that it will conform to curves in the fingerboard shape.
17) HEADSTOCK INLAY - Most Gibson Montana models with a headstock inlay have a faceplate veneer. Most models with a decal on the headstock have no headstock veneer. Pictured is an exquisite custom shop headstock inlay for the J-250 Monarch Custom Super Jumbo model.
18) NECK FIT - The neck is carefully hand-fitted, a key element in the rich, balanced tone that Gibson acoustics are known for. This fitter is shaping the dovetail joint to ensure the neck fits at the proper angle, and traditional hide glue is used to create a superior bond between the neck and body.
19) COLORING - A sunburst finish is applied in the one of the spray booths. Before any finishing is done the fingerboard and nut are masked off and the guitar receives a sealer coat to ensure a smooth final appearance.
20) THE FINAL TOUCHES - The final touches are put on the finish before the guitar goes to the drying area.
21) DRYING - After the guitar is colored, the guitar is put on a conveyor line to dry. Proper curing of each coat is essential to the stability and longevity of guitar and finish.
22) SCRAPING - After the guitar has been sealed and colored, the masking is removed and the excess color is scraped off. The fine work of scraping the color off the binding (and not the adjoining wood) is an art in these skilled hands.
23) BUFFING - The buffers "make it shiny." Buffing requires a great deal of training and experience, along with strong hands, wrists and arms.
24) WET SANDING - The finish is wet-sanded between coats to ensure a thin even layer of nitrocellulose lacquer.
25) PICKGUARDS - The color, inlay, and binding of many classic Gibson acoustic pickguards are done by hand.
26) INSTALLING THE BRIDGE - Before gluing the bridge in place, the "bridger" locates the correct position, then scribes and peels the lacquer from that area to ensure wood-to-wood contact.
27) SET-UP - Technicians install the pickups
28) SET-UP - Technicians string up the guitar, tune it to standard pitch and adjust the truss rod and bridge saddle height to proper specifications.
29) FIRST PLAY - The technicians in Final Assembly are the first people to actually play the guitar. They play all strings on every fret to make sure one of the strings "buzz." Then the guitar is sent to final buffing to buff out any fingerprints or burnishing left during assembly.
30) FINISHED GOODS - At "Finished Goods" the guitar is logged into the shipping database and the accompanying paperwork is attached. After one more inspection the guitar is put in the case. Next stop: your Authorized Gibson dealer.
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