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Skipper Custom Instruments - MaterialsOverviewAll materials utilized in a Skipper instrument are of highest quality, carefully chosen for appearance as well as utility. Woods are collected as they become available, and are stored and aged in Roger’s climate-controlled shop. In addition to the normal array of tropical and exotic woods, Roger has a supply of superb local woods: maple, cherry, and red spruce. Some of these trees grew on family lands and were felled with his chainsaw, and he often assists with sawing at the mill.
TopsThe top is the engine that drives the instrument, the primary provider of volume and depth. Past instrument tops include Sitka spruce, Englemann spruce, Adirondack or Red spruce, and koa. Roger currently has a supply of beautiful Adirondack spruce cut from the tree of a lifetime: one large and limbless enough to provide tops for an upright bass. For those preferring the harder sound of Sitka, it’s always available. Any commercially available tonewood can be ordered for your instrument.
Adirondack (Red) Spruce: a strong, clear tone that gets better and better as the instrument ages—the tops used on many of the great pre-war guitars. Nearly decimated by the early airline industry, this wood is once again becoming available. A light colored wood, normally of moderate grain spacing. Sitka Spruce: strong and elastic, the staple choice of many steel-string guitar makers. Tight grained and darker than red spruce, time-tested and enduring. Other top woods are available; please inquire.
Backs and SidesBacks and sides provide not only the depth and value of an instrument’s sound, but also are the primary natural aesthetic component of an instrument. Past tonewoods include Indian rosewood, ziricote, maple (curly, quilted, and birdseye), cherry, mahogany, red elm, koa, morado, and cocobolo. Any commercially available tonewood suitable for acoustic instruments can be ordered for your special project. Indian Rosewood is always on hand, along with a selection of many other beautiful and exotic woods. Other back and side woods are available; please inquire.
NecksA stable neck is the foundation of an instrument with enduring playability. Mahogany, though increasingly harder to obtain, is the wood of choice, and maple is often used as a viable match for maple backs and sides. The necks on all Skipper instruments are equipped with a two-way adjustable truss rod to ensure proper action now and in the future. Ebony, also becoming scarce, is the preferred wood for fretboards and peghead overlay, with rosewood often used for color matching. Many other options are available. Inquire for your special needs.
TrimBinding and purfling: binding protects the instrument’s edges, and purfling provides additional accent. Together with the rosette and inlay, the trim can make an instrument truly unique. The options are nearly limitless, with celluloid and wood being the most common bindings, while marquetry and abalone are most often utilized for the instrument’s purfling. The rosette provides accent around the soundhole, and often -— but not always -— matches the purfling. Again the options are many. Inlay is limited only by your imagination. In addition to the traditional shell products (mother of pearl and abalone), a plethora of alternative materials provides a palette of striking visual options. From stark floral and geometric designs to intricate realistic scenes, nothing is beyond your reach.
HardwareAll hardware utilized on Skipper instruments is of the highest quality. Standard tuning machines are manufactured by Shaller, Grover, or Gotoh, depending on the particular model and buyer preferences. Waverly tuners are available as an upgrade, and any commercially available machines can be installed on your instrument.
FinishingNitrocellulose lacquer is Roger’s preferred finish. Lacquer is well suited for musical instruments, durable, time tested, and provides a light, thin surface that is pleasing to the eye and to the touch. Varnish is available on violin-family instruments. A lacquer finish begins with proper surface preparation, then aniline stains are applied by hand if the instrument is to receive tinting or a sunburst finish. The instrument is then first sealed with a misting of fresh-mixed shellac, then with vinyl sealer that provides a superior bond between wood and lacquer. Porous woods, such as rosewood or walnut, are then filled with a filler specifically formulated for lacquer finishes. A series of extremely thin finish coats are applied, with leveling with fine-grit sanding between coats and a final leveling with successively finer grits of Micro Mesh papers. The instrument is then buffed on a flannel wheel loaded with Madernza polishing compounds. The end result is a beautiful micro-thin finish that grows more beautiful with each passing year while providing unparalleled protection for your instrument.
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