T he Comma Series is a family of instruments that completely redefines what a high-performance guitar can be. In designing this series, I was driven by a desire to free the top from the inherent limitation and inefficiency of traditional x-bracing- that being the loss of meaningful vibration in the upper portion of soundboard due to the structural requirements of a central sound hole.
Relocating the sound hole to the upper treble bout frees up much more real estate for vibration and amplifying sound. These are radially braced guitars, with braces arranged like spokes on a wheel from the bridge outward. Where traditional X-bracing locks the the bridge and top into a relatively inflexible unit, my radial arrangement allows much more freedom of movement, while still providing critical support to the guitar top. The result is a tremendous increase in bass response, a warm and sophisticated top end, and more volume.
The Comma Series features many modern innovations, all contributing to a thoroughly rethought playing experience. These are not a mish-mash of fashionable features cobbled together, but a carefully composed suite of interrelated sonic and ergonomic details resulting in an instrument unlike any other.
The Sidewinder
N amed not just for the lovely tracks left in the dunes by the Sidewinder rattlesnake, but also for its potent and fearsome nature, this guitar is the largest of the Comma Series.
At nearly 16” across, it is the same width as the traditional dreadnought, but with a longer 26– 25.4” multiscale fingerboard, it is designed to handle drop tunings and provide unprecedented power and bottom end.
Scale Length | Multiscale 26- 25.4" | Frets to Body | 14 | Nut Width | 1 13/16" | String Spacing at Saddle | 2 5/16" | Fingerboard Radius | Compound 14- 20" | Lower Bout Width | 15 7/8" | Maximum Body Depth | 4 3/4" |
The Nautilus
T his model is the genesis of the Comma Series design. At 15” across the lower bout, it is a terrifically versatile instrument whose orchestral voice belies its moderate size.
Fingerstyle, cross picking, strumming or tapping — this guitar can do it all.
Scale Length | Multiscale 25.4- 24.9" | Frets to Body | 14 | Nut Width | 1 13/16" | String Spacing at Saddle | 2 5/16" | Fingerboard Radius | Compound 14- 20" | Lower Bout Width | 15" | Maximum Body Depth | 4 1/2" |
The Arum
A 14” body has traditionally been the domain of the blues guitar, but for The Arum, that definition is far too limited. This guitar punches well above its weight in overall volume and bass response, but is also incredibly even in its response up and down the neck.
It is an ideal instrument in the studio, with great focus and note separation.
Scale Length | Multiscale 25.4- 24.9" | Frets to Body | 14 | Nut Width | 2 13/16" | String Spacing at Saddle | 2 5/16" | Fingerboard Radius | Compound 14- 20" | Lower Bout Width | 14" | Maximum Body Depth | 4 1/4" |
The Ibex
T his is my ultra-high-performance parlor guitar. It is only 12" wide, but produces a stunning amount of sound. The Ibex boasts a very focused and powerful midrange but plenty of sparkle and growl as well.
This is as great a departure from the parlor guitars of the early 20th century as imaginable — while still providing the intimate and comfortable feel of the original genre.
Scale Length | Multiscale 25.4- 24.9" | Frets to Body | 12 or 14 | Nut Width | 1 13/16" | String Spacing at Saddle | 2 5/16" | Fingerboard Radius | Compound 14- 20" | Lower Bout Width | 12 1/8" | Maximum Body Depth | 4" |