Radial-grain rosette with a bound sound hole using Malaysian Blackwood and Arariba (aka Canary Wood)
Indian rosewood binding & end graft with a simple little inlay of Arariba to tie in with the rosette and headstock
Chrome Waverly tuning machines with ebony buttons
Ebony fretboard
Side sound port
Mike utilized a Tornavoz around the sound hole. For those unfamiliar with a tornavoz, it is a thin and, in this case, shallow tube (~3/4") inset into the top. The concept has been around since the early 1800's and lowers the frequency at which the main air cavity vibrates. The structured sides and sound port both raise this frequency so adding a Tornavoz to the mix allows Mike to create a more balanced system and stronger bottom end.
Flush, magnetic truss rod cover
Carved, pinless bridge (macassar ebony, arariba, and malaysian blackwood)
Beautiful, UV poly finish
Satin finish on the neck & headstock
The sound is rich and clear as a bell
Canadian black tolex hard shell case
Some details in Mike's own words:
For the past few years I've been building with "structured sides" and have loved the results. I this case the core of the lamination is western red cedar and the inner lamination is yellow cedar. With a dark back, I thought it would look best to ebonize the yellow cedar. For those of you that haven't seen this process, it's MAGIC -- basically you wipe on a coat of something with a high tannin content (I used a quebracho "tea") followed by an iron oxide solution (steel wool dissolved in vinegar).
