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I have commissioned a custom 16” Monarch archtop from North Carolina luthier John Buscarino. John builds archtops, flatops, nylon string and solid-body electric guitars. He originally apprenticed for both Augustino LoPrinzi (classical guitars) and Bob Benedetto (archtop guitars) and has been making guitars for about 40-years now.
John built me his carved back nylon hybrid model (‘015 Carpathian Spruce/Carved Honduran Rosewood Cabaret Model) about 5-years ago and a carved back steel string flattop (‘018 Carpathian Spruce/Carved East Indian Rosewood Rhapsody Model) about 2-years ago. Instead of his standard 3” rim depth, John recommended utilizing tapered rims (3” to 3-1/2”) for enhanced acoustics. This has a body volume similar to a 3-1/4” constant rim depth instrument.
The guitar will be very much a “Johnny Smith” like guitar (e.g. 25.0” scale, 1-3/4” nut, wider string spacing etc.), but with a smaller 16” body. Again, John will add a small sound port to the upper bout for an enhanced acoustic player experience.
Dimensions:
Lower Bout Width: 16”
Body Depth: 3” to 3-1/2”
Scale Length: 25”
Nut Width: 1-3/4”
String Spacing: 2-3/16”
Fretboard Radius: 12”
Number of Frets: 22
Cutaway: Venetian
Side Port: Fleur De Lis
John being a builder for many decades has amassed a large wood locker of aged tonewoods. Typically, John won’t build with anything that has not been stabilized in his shop for > 5-years. For this guitar John chose a Master Grade Carpathian Spruce top from Romania (Old World Tonewoods). For the body, a 17 year old Master Grade European Fiddleback Sycamore Maple from Andreas Gleissner from Austria. John is fortunate to still have quartersawn flamed Rock Maple neck blanks which are harder to find these days.
Materials:
Top Wood: Master Grade Carpathian Spruce
Body Wood: Master Grade European Fiddleback Sycamore Maple
Neck Wood: 3-Piece Neck, Master Grade Highly Figured Rock Flame Maple
Fretboard: Gaboon Ebony
Bridge & Saddle: Gaboon Ebony with Thumb Wheels
Tailpiece: Gaboon Ebony
Pickguard: Gaboon Ebony
We are still looking at spruce top sets at the moment, but here are three Carpathian Spruce sets that John shared with me. John actually is still going through some Italian and Sitka Spruce top sets as well.
Here is a photo of the Fiddleback Sycamore Maple set. It was from Austria and resawn in 2003 by Andreas Gleisner.
This guitar will have a very traditional aesthetic with split block position markers and a lighter almond sunburst set off by lighter birdseye Rock Maple bindings.
Decoration:
Body Binding/Purflings:Bird's Eye Maple with b/w/b/w/b for top and back and b/w/b top and side
Fretboard Binding/Purflings: Bird's Eye Maple and b/w/b top/side Purflings with Ebony Side Dots
F-Hole Binding/Purflings: Style A, Bird's Eye Maple Scrolls with b/w/b
Pickguard Binding/Purflings: Bird's Eye Maple Binding with b/w/b Purflings
Fretboard Inlay: Split Block MOP Inlays with Abalone Stripes
Headstock Veneer: Ebony with Birdseye Maple Binding
Headstock Veneer Inlay: New “Buscarino” Logo
Rear Headstock Veneer: Ebony Laminated with Ebony/Maple/Ebony
Truss Rod Cover: Gaboon Ebony
Finish: Custom Almond Sunburst (Nitrocellulose Lacquer)
I have been very happy using Jescar EVO fretwire on all of my guitars. John will use one of his custom humbuckers made for him by Kent Armstrong. Because these use bar magnets, John can use wider 2-3/16” string spacing vs. the typical 2-1/16” string spacing typically used with his 12-pole piece humbuckers.
Hardware:
Fret Wire: Jescar EVO .047” x .095”
Tuners: Gotoh SG510 (21:1) with Ebony Buttons
Truss Rod: Double Action
Nut: Bone
Strings: TI BeBop .013” - .053”
Pickup: Buscarino Signature Floating Humbucker
Volume and Tone Controls: Concealed Underneath Pickguard
Jack: @ End pin
Strap Pin: @ Heel Plate
Case: Hiscox Lite Flite
John will begin to build the guitar in this month and as he builds the guitar if he forwards me some shots I will post them here.
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01-13-2020 07:11 PM
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As usual - a very detail oriented description of your commission. Excellent choices throughout this build - it will be a visual and sonic masterpiece for sure. I recently spoke with John for the first time in over 20 years. He made 3 guitars for me in the early nineties when he was just starting out. His recent builds with the carved mahogany backs have been outstanding and very tempting. The sound port is a must for any new build that I would commission as well. It really makes a profound difference for the player.
Do enjoy the process and I look forward to the updates.
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Originally Posted by QAman
I have found that sometimes folks mistakenly view the body of a luthier’s work as homogeneous (e.g. a. Buscarino is a Buscarino, a Comins is a Comins etc.). Lutherie, like other artisan crafts by definition is a journey in enlightened empiricism where best ones are constantly learning and evolving their work. I remember visiting a well known luthier’s shop (not John) and seeing a guitar on a stand in his set up room and I asked if I could try it? He said, no! It is one of my early guitars that is back for a repair and is not reflective of my current work.
After spending his two internships with Augie LoPrinzi (‘79-‘80) and later Bob Benedetto (‘81-‘83) John set up his own solid body electric guitar company which he ran successfully for almost a decade (which later sold with his neck joint patent) before establishing Buscarino Guitars in the early 1990s. At that point when he put out his own shingle, he had spent two years with Bob building archtops (years prior), but was still fairly new as an archtop luthier (a better background than most putting out their own shingles today!).
Today, after nearly 30 years of making hundreds and hundreds of archtop guitars, John’s instruments are at a different level (and have been for some time in my opinion). John has made more guitars at this point than Bob had when he retired from solo building in ‘99. John has made me two other custom guitars over the last five years (a nylon string and a flattop) and both are superlative instruments. So this will be my third Buscarino.
My ’015 Buscarino Cabaret (Carpathian Spruce / Honduran Rosewood)
My ‘018 Buscarino Rhapsody (Carpathian Spruce / East Indian Rosewood)
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Iim,
That is a cut above, a cut above!
I am excited for your build and it’s really cool for you to share the experience with those of us that will never be able to play in that league.
Looking forward to the progress.
Joe D
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Congrats on the new Monarch order! What is a tapered rim again?
I own a Cabaret but yours looks like it has some nice wood upgrades.
And as I have said before, that flat top is truly something else. Love the back, the rear of the headstock etc. A rare beauty indeed.
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Gorgeous instruments- thanks for sharing. I too have purchased many guitars from private builders over the last 40 years. I have found the experience to be very exciting , and sometimes a bit disappointing , but always worth the venture. These builders gain so much knowledge from each build - that after a few decades they gain the consistency and profound knowledge of knowing what outcomes can be produced with numerous varables.
Our expectations on these builds are always so high - that its very difficult for the maker to satisfy every visual and sonic desire - but your detailed approach , knowledge of material choices and selection of John as the builder will certainly provide a fabuluos result.
Sent from my GT-N5110 using Tapatalk
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Originally Posted by Max405
Originally Posted by Jazzstdnt
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Bob, Do you have the pickup described above on other guitars? The reason I ask is that I'm having an archtop built that will have a wide fretboard and getting a pickup to deal with the string spacing either results in either F-Spaced big box e.g. Duncan, DiMarzio, which doesn't quite work or a custom pickup. How does this pickup sound compared to the 12 pole KA floater? I own a few guitars with the KA handwound 12 pole both set in and floater.
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Originally Posted by rob taft
Rob, I suggest that you reach out to Kent at (armstrong@vermontel.net).
Guitar pickups - Handmade pickups by Kent Armstrong
I believe that if you have a target tone in mind, a known string spacing at the pickup location, a pickup size (X, Y, Z), aesthetic preferences, wiring and mounting method (pickguard, fretboard etc.), he will make you a custom pickup. It usually his best to communicate with a mechanical drawing to reduce installation challenges.
Hope that helps...
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One of the best guitars I ever played was a Buscarino Artisan. And I've tried D'Aquisto, D'Angelico, and many of the the other luthier builds as well.
Congratulations on a great guitar !
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Bob, Thanks for your reply. I was interested to see if you had compared the two pickup designs.
PS: You and Big Mike should open up a boutique guitar store. I live vicariously through you guys.
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Rob, no I specified it based on John’s recommendation. I have had excellent luck with John’s recommendations (he is a player and knows tone). This pickup uses bar magnets and is more flexible to differing string spacing than fixed pole piece designs. If it turns out that I don’t like it, I live near enough to luthier Bill Comins (I’m a friend and client and he and John are good friends) so I am sure that he would help me out with a replacement.
Originally Posted by rob taft
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John added CNC to his operation many years ago. He uses it for a number of labor intensive operations including the rough carving of archtop top and back plates. Here are two Carpathian Spruce tops (Sets A and B) where the outer rough carve has been executed. The tops are located on the CNC with registration pins and are held in place with a. vacuum assist. We will wait to decide between these two until the inside rough carve is executed on these two sets so John can better assess the acoustic potential of each set. In their raw state, it is difficult to assess beyond the quality of their cut, density, some indication of figure and % moisture content on 1” thick archtop sets. The one that we don’t select will not go to waste, but will be used for a spec. guitar.
Top Set A:
Top Set B:
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Instead of traditional f-holes, we opted for simpler s-holes on this archtop. Here is John’s CNC drawing showing their position within a 16” top.
John creates b/w/b purfled birdseye maple bindings for each of the s-holes. Here is a close up shot below of one of them. The Birdseye Sugar Maple bindings will really “pop” when the top gets its subtle burst.
Here is the rough contoured Carpathian Spruce top with both bound/purfled s-holes installed.
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I received these two videos today from John.
The first video shows the rough carving process for the Austrian Sycamore Maple using his CNC.
The second video shows the perimeter shaping of the plantilla of the back plate.
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Out of the many luthiers that I have interacted with over the years, only a minority of them have utilized CNC in the creation of their instruments. Some of that is driven by their philosophy, or the cost of entry (computer, software, CNC, tools, jigs and fixtures etc.), and others a reluctance to learn new methods (e.g, learn CAD, CAM and shop methods).
Archop luthiers in general have been early adapters of the technology because it is a far more physically labor-intensive process than the creation of a classical or steel string flat top guitar. The rough carving of maple and spruce plates using manual methods over decades takes a physical toll on a luthier. Many older archtop (also cello and violin) luthiers in the later decades of their careers suffer from permanent repetitive stress injuries.
John started hand carving archtops in Bob Benedetto’s shop in the early 1980s. Like many builders, he moved on to using a router duplicator for rough carving his plates for decades. It wasn’t until John was in his 60s when he added a CNC into his building process. The refinement and acoustic tuning of the plates and braces are still accomplished through traditional methods guided by the mastery of the luthier.
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John has installed and tuned a Carpathian Spruce x-brace for the Carpathian Spruce top. John add a tone bar to his x-brace to fatten the treble response in his instruments.'
Here is the rough carved the Fiddleback Austrian Alpine Maple (European Sycamore) and attached it to the Basswood kerfed lined, Sitka Spruce reinforced rims. You can also see the Honduran Mahogany neck and end blocks. Even without finish, you can see that the figure in this set is going to be something special.
John is tapering rims on this 16” archtop for some enhanced acoustic response. The taper will go from 3” to 3-1/2” on this instrument.
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Originally Posted by iim7V7IM7
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Great post. Do you play anything over a 16" guitar? Just curious...
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Originally Posted by 2bornot2bop
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Originally Posted by iim7V7IM7
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John began to rough carve the fleur de lis shaped sound port into the rim in the upper bout.
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Originally Posted by iim7V7IM7
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John has glued the rough carved Carpathian Spruce top and European Sycamore back plates to the reinforced, lied rims. He has now moved on to constructing the Birdseye Sugar Maple bindings and purflings.
The carved Carpathian Spruce top has a bunch of distinct winter growth similar to what we see in some Red Spruce sets.
The carved fiddleback European Sycamore back under John’s rough carve is beginning to reveal itself and should fully show under finish.
John’s Fleur di Lis shaped side port can be seen in the upper bout of the figured maple rims.
Last edited by iim7V7IM7; 04-14-2020 at 06:21 PM.
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Originally Posted by Hammertone
John learned to x-brace archtops from Bob in the 1980s and his for the first two plus decades or so of his work he utilized his approach. Like many builders on their journey towards mastery at the bench; they eventually deviate from their master’s approach, evolve and develop their own approaches.
About a decade ago, John positionally shifted his x-brace toward the neck block and at the same time also opened up (wider spread) the inclusion angle of the x so the x-brace while still under the bridge was outbound of the two saddle posts (see the photo below). This wider spread created a more flexible top. At the same time that he made the change to the x-brace, he also added the treble bar to add some structure the lower bout and alter its acoustics. This resulted in a stronger treble response in his guitars that he liked. He has used this in all of his x-braced guitars for the last decade or so.
Hope that makes sense...
KA PAF info please
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