Wenge 1 Jumbo details
A full-size Guitar with Jumbo proportions, scale length of 645mm, 12 frets to the body. This Guitar, serial No. Wenge 001 was made by hand using the materials list below.
Back and Sides - African Wenge (Millettia laurentii)
A Heavy, strong, stiff, and dense wood with consistent, very tight straight grain, Wenge has excellent projection and volume. Loud, ringing tap tone with nice sustain, very much like Brazilian Rosewood.
Soundboard - Alaskan Bear-Claw Sitka Spruce (Picea sitchensis)
Sitka Spruce has long been the standard sound board material. The Bear Claw pattern is unique to each piece and gives it a third dimension.
Soundboard Bracing System – ‘X’ Bracing
C. F. Martin Sr. invented what is known as X-bracing sometime around 1845, which revolutionized guitar making. It consists of a main X brace surrounded by various smaller braces called tone bars. Although the guitars of the day were quite small by modern standards and built to use gut strings like the nylon strings seen on modern classical and flamenco guitars, Martin’s X-bracing proved to be perfect for larger guitars. This Style of Bracing has become the industry standard and would be used in 99% commercially built guitars.
Headstock, Bindings, Bridge & Fretboard – Red Bauhina (Lysiphyllum carronii)
Occurring in Central Western Queensland, sometimes called Queensland Ebony
It’s not considered endemic to the area, possibly brought to Australia by the Aboriginals. Multi-trunked, growing to 10 m, briefly deciduous in very dry conditions. A good shade and fodder tree for stock. The sapwood is pale with dark heart wood, used in wood turning and cabinetry.
Rosette, Body, and Fretboard Purflings – New Zealand Paua Shell
(Haliotis iris or austalis)
Paua is the Mauri name for Abalone. While the name Paua is used extensively in NZ to describe any Abalone collected from NZ waters, in the Luthier world Paua usually means it’s the predominately blue abalone that comes from the south end of New Zealand’s South Island. All shell on this instrument was sourced from “Ocean Shell” https://lumea.co/about-us/who-we-are
Nut and Saddle – Hand made from Northern Territory Buffalo Horn
The Nut and Saddle are handmade and fitted into their respective locations. The saddle is a firm fit into the Bridge but can be removed if needed. It has a line scribed along the soundhole face; this indicates the orientation of the saddle in the bridge. The instruments intonation has been set using the saddle, so it’s important that the saddle goes back with the correct orientation. The Nut has been slotted to suit the as fitted Strings. The Nut is also a firm fit; a small amount of CA glue has been put under it to hold it in place while changing strings.
Fretwire – Jescar Evo-Gold
EVO Gold wire is a harder alloy material than traditional 18% nickel silver though not as hard as stainless steel. It has excellent working properties and provides the player with increased fret life and a more Stainless Steel like feel.
Neck - American Curly Maple (Acer spp.)
Quilted and Curly Maple are different figure types of the same species, it is an imported wood, and one of the most popular woods for stringed instruments. It is very stable and can be visually stunning. The Neck is fitted with a Double Acting Steel Trussrod, accessible from the Soundhole with a 4mm Allen key.
Tuners - Gotoh mini-510, in Gold
Exceptional High-quality tuners, consistently ranked at the top of the industry by musical instrument makers. These high tech, precision cut, Sealed Gear type tuners are lubricated for life and with an 18:1 ratio give the player a positive confident feel.
Strings – ‘Elixir’ Custom Light 11-52
Action has been set as low as possible to great intonation and ease of playing. While this Guitar can be fitted with heavier strings it is not recommended.
Finish - Hand Polished High Gloss Nitro Cellulous Lacquer
A hardwearing lacquer that is chemical resistant and easily repaired. Approximately 20 coats of Lacquer are applied over a 10-day period, after a week curing time, the lacquer is hand levelled using wet/dry sandpaper, micromesh pads and finally buffed to a mirror finish.
A full-size Guitar with Jumbo proportions, scale length of 645mm, 12 frets to the body. This Guitar, serial No. Wenge 001 was made by hand using the materials list below.
Back and Sides - African Wenge (Millettia laurentii)
A Heavy, strong, stiff, and dense wood with consistent, very tight straight grain, Wenge has excellent projection and volume. Loud, ringing tap tone with nice sustain, very much like Brazilian Rosewood.
Soundboard - Alaskan Bear-Claw Sitka Spruce (Picea sitchensis)
Sitka Spruce has long been the standard sound board material. The Bear Claw pattern is unique to each piece and gives it a third dimension.
Soundboard Bracing System – ‘X’ Bracing
C. F. Martin Sr. invented what is known as X-bracing sometime around 1845, which revolutionized guitar making. It consists of a main X brace surrounded by various smaller braces called tone bars. Although the guitars of the day were quite small by modern standards and built to use gut strings like the nylon strings seen on modern classical and flamenco guitars, Martin’s X-bracing proved to be perfect for larger guitars. This Style of Bracing has become the industry standard and would be used in 99% commercially built guitars.
Headstock, Bindings, Bridge & Fretboard – Red Bauhina (Lysiphyllum carronii)
Occurring in Central Western Queensland, sometimes called Queensland Ebony
It’s not considered endemic to the area, possibly brought to Australia by the Aboriginals. Multi-trunked, growing to 10 m, briefly deciduous in very dry conditions. A good shade and fodder tree for stock. The sapwood is pale with dark heart wood, used in wood turning and cabinetry.
Rosette, Body, and Fretboard Purflings – New Zealand Paua Shell
(Haliotis iris or austalis)
Paua is the Mauri name for Abalone. While the name Paua is used extensively in NZ to describe any Abalone collected from NZ waters, in the Luthier world Paua usually means it’s the predominately blue abalone that comes from the south end of New Zealand’s South Island. All shell on this instrument was sourced from “Ocean Shell” https://lumea.co/about-us/who-we-are
Nut and Saddle – Hand made from Northern Territory Buffalo Horn
The Nut and Saddle are handmade and fitted into their respective locations. The saddle is a firm fit into the Bridge but can be removed if needed. It has a line scribed along the soundhole face; this indicates the orientation of the saddle in the bridge. The instruments intonation has been set using the saddle, so it’s important that the saddle goes back with the correct orientation. The Nut has been slotted to suit the as fitted Strings. The Nut is also a firm fit; a small amount of CA glue has been put under it to hold it in place while changing strings.
Fretwire – Jescar Evo-Gold
EVO Gold wire is a harder alloy material than traditional 18% nickel silver though not as hard as stainless steel. It has excellent working properties and provides the player with increased fret life and a more Stainless Steel like feel.
Neck - American Curly Maple (Acer spp.)
Quilted and Curly Maple are different figure types of the same species, it is an imported wood, and one of the most popular woods for stringed instruments. It is very stable and can be visually stunning. The Neck is fitted with a Double Acting Steel Trussrod, accessible from the Soundhole with a 4mm Allen key.
Tuners - Gotoh mini-510, in Gold
Exceptional High-quality tuners, consistently ranked at the top of the industry by musical instrument makers. These high tech, precision cut, Sealed Gear type tuners are lubricated for life and with an 18:1 ratio give the player a positive confident feel.
Strings – ‘Elixir’ Custom Light 11-52
Action has been set as low as possible to great intonation and ease of playing. While this Guitar can be fitted with heavier strings it is not recommended.
Finish - Hand Polished High Gloss Nitro Cellulous Lacquer
A hardwearing lacquer that is chemical resistant and easily repaired. Approximately 20 coats of Lacquer are applied over a 10-day period, after a week curing time, the lacquer is hand levelled using wet/dry sandpaper, micromesh pads and finally buffed to a mirror finish.