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    T he Comma Series is a group of instruments that completely reassess what a high performance guitar can be. The impetus for this design was the idea that in a traditional X-braced guitar, with a centrally located sound-hole, approximately one-third of the top is rendered inert due to the demands of the structure required to keep the top from collapsing. The Comma Series guitars, by relocating the sound hole to the upper treble bout, free up a great deal more real estate for vibration, which after all, is how a guitar amplifies sound. These are radially braced guitars, with all the braces arranged like spokes on a wheel, from the bridge outward. Whereas the traditional X locks the the bridge area into a relatively inflexible unit, the radial arrangement allows the bridge much more freedom of movement. The result is a tremendous increase in bass response, a warm and sophisticated top end, and overall greater output of volume. Playing this instrument is a revelation of what potential an acoustic guitar possesses.

    The Comma Series feature a number of modern innovations, all of them critically contributing to a thoroughly and thoughtfully designed whole. Not just a mish-mash of contemporary features, but a through-composed suite of interrelated sonic and ergonomic details, all the guitars in the group include:

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    The multiscale design captures the deep brassy growl of a long-scale bottom end, and couples it with the sweet fatness of a short-scale treble. Because the total difference of the two scales is only ~1/2”, the player requires no time to acclimate — in fact it is virtually unnoticeable even the first time you pick the instrument up.

    The elevated fingerboard slightly changes the angle at which the strings meet the bridge, creating more complex overtones and a more “harp-like” timbre. It also slightly elevates the strings above the top, providing plenty of clearance for fingernails or plectrum.

    Radially braced top — The most profound feature of these instruments is the radial arrangement of the braces. Not only does this allow for an elegant solution to the asymmetry of the multiscale, but it frees the top from the constrictions of a typical X-brace design, allowing it to vibrate more freely and create a larger, more detailed tone palate.

    The triple laminated sides, and internal carbon-fiber strut provide rock solid structure to the area where the 3-D port has removed material from the upper treble bout.

    The 3-D soundport is located on the upper treble bout of the instrument, and replaces both the traditional soundhole, but, by sculpturally dipping down into the side, also replaces the player’s port. This aperture focuses the energy of the guitar directly at the player, creating a very immersive experience for the player, as well as allowing the sound to drive forward towards the audience. The 3-D soundport provides the inspiration for the Comma Series names — all the names in this family are references to this sinuous shape found in the natural world).

    The high-performance cutaway departs from the neck at the 18th fret, which, coupled with the elevated fingerboard, provides unfettered access all the way to the 21st fret.

    The arm bevel on the lower treble bout presents a gentle, comfortable surface for the player’s right forearm to prevent the discomfort that can be associated with a sharper edge. It also creates, along with the 3-D soundport, a beautiful serpentine shape that is reminiscent of the stroke of a calligrapher's pen.


    The Sidewinder

    LARGE

    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 Nautili. At 16” across, it is the same width as the familiar dreadnought, but equipped as it is with a longer 26.25 - 25.4” multiscale fingerboard, it is designed to handle drop tunings and provide unprecedented power and bottom end.

    Scale Length Multiscale, XX"
    Frets to Body XX
    Nut Width XX"
    String Spacing at Saddle XX"
    Fingerboard Radius Compound XX""
    Lower Bout Width XX"
    Maximum Body Depth XX"

    The Nautilus

    MEDIUM LARGE

    T he namesake of the family, this model is the origin of the whole design idea. 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, XX"
    Frets to Body XX
    Nut Width XX"
    String Spacing at Saddle XX"
    Fingerboard Radius Compound XX""
    Lower Bout Width XX"
    Maximum Body Depth XX"

    The Arum

    MEDIUM SMALL

    A 14” body has traditionally been the domain of the blues guitar, but with The Arum, that designation 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, XX"
    Frets to Body XX
    Nut Width XX"
    String Spacing at Saddle XX"
    Fingerboard Radius Compound XX""
    Lower Bout Width XX"
    Maximum Body Depth XX"

    The Ibex

    PARLOR

    T his is my ultra high-performance parlor guitar. It is only 12" wide, but it produces a stunning amount of sound, with 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 one can go while still utilizing the same amount of soundboard.

    Scale Length Multiscale, XX"
    Frets to Body XX
    Nut Width XX"
    String Spacing at Saddle XX"
    Fingerboard Radius Compound XX""
    Lower Bout Width XX"
    Maximum Body Depth XX"