Michael McBroom

There is a story behind every one of my guitar models, which you've probably figured out by now.  Even though I am predominantly a classical player, I am not exclusively one.  I own nine electric guitars (and counting), but until I began building guitars, I owned only a single steel-string acoustic, and wasn't all that happy with its sound or playability.  My problem wasn't finding a great sounding steel-string guitar.  That's as easy to do as falling off a log these days.  My problem was finding one that was comfortable to me for fingerstyle playing.  Being a classical player most of the time, I find that I'm just more comfortable with a wide neck.  Unfortunately, wide-necked steel strings, I have found, are scarce creatures indeed.  So, frustrated beyond limits, I built one to suit me.  Ever the optomist, I reasoned that if I was after a guitar like the one I ended up building, other players would be interested as well. The biggest difference between my Fingerstyle guitar and other steel string acoustics is the width of the neck at the nut.  It is a full 1-15/16" (49.2mm) wide.  This extra width provides greater comfort for fingerstyle artists who often must employ complex left-hand fingerings.  Other less noticeable differences are my bracing design, the guitar's compound cutaway, and its pinless bridge. The Fingerstyle model uses a modified X-bracing pattern, which I have lightened considerably compared to factory guitars such as Martins, Gibsons, and Taylors.  The large factories are forced to overbrace their guitars to insure maximum survivability under worst case situations.  I don't do that.  I build my guitars to provide the maximum playing and acoustic pleasure, not to survive brutal conditions that should be avoided at all costs.  It is my fervent hope that my clients have more sense than to string up one of my Fingerstyle models with heavy gauge strings or leave it to bake inside a car in the middle of August in Phoenix, Arizona.  (Such abuse voids the warranty, in case you might be wondering.)

Fingerstyle model with optional bearclaw sitka top and pau ferro bridge Fingerstyle Model with optional claro walnut back and sides	Dealing with compromises is an inevitability when building a steel-string acoustic guitar.  Since my guitars carry a lifetime warranty to the original owner, it behooves me to insure that my building practices insure longevity.  The challenge is building what is called a "minimally braced structure."  That is, building an instrument that can withstand the forces exerted upon it, but with a minimum of margin reserved for abuse.  Following this design philosophy enables me to build steel-string acoustics that are light, responsive, yet strong enough to last a lifetime when cared for properly. I install pinless bridges on my guitars for a few reasons: 1) they don't put holes in the soundboard, 2) changing strings is quite a bit easier, and 3) I just think they look cool. I prefer building the Fingerstyle Model with a compound cutaway because it allows for a smooth transition between the cutaway and the neck heel.  There is no awkward hump or corner at the transition the way it is on many other cutaway acoustics.  It involves a bit more work building with a compound cutaway, but to me, it is worth it. Specifications: Soundboard wood: choice of Canadian Lutz spruce, cedar or redwood Back and Side wood: choice of Indian rosewood, padauk, palo escrito or either Peruvian or Mayan walnut Neck wood: mahogany Ebony fingerboard Indian rosewood  bridge (pau ferro availaible at no additional charge) Binding is your choice of the same wood used for the back and sides (except padauk) or either bloodwood or curly maple Purfling: curly maple on the back and sides, alternating black/white lines on the top Ebony headstock veneer with inlay Bone nut and saddle Fingerboard radius: 20" 25.4" scale Nut width: 1-15/16" Tuners: Gotoh 16:1's, gold-plated French polish finish Hard shell case. Price: $2000 Please inquire for price with optional woods or features.  Prices for optional items, especially tone woods, vary depending upon exchange rate and availability. Soundboard bracing pattern used for the Fingerstyle Model Pinless bridge on the Fingerstyle Model.  Pau ferro bridge shown. Final fitting of the Fingerstyle Model's neck heel to the compound cutaway
Copyright © 2006 Michael McBroom, all rights reserved