2007 Paul McGill CD/CO
|Back & Sides:
Paul McGill is an American luthier, who builds in a variety of styles including classical, steel string as well as the originator of a unique type of resonator guitar based upon the Brazilian Del Vecchio designs of the 1930s. In 1985, McGill moved to Nashville to work as a repairman for Gruhn Guitars. A seminal moment in his career occurred in late 1992, when Earl Klugh asked McGill to build a more refined version of a Del Vecchio resonator guitar that Klugh had received from Chet Atkins. Though Klugh enjoyed the Brazilian guitar's sound, he found it delicate, with poor intonation. Though McGill was apprehensive, fearing that building such an unusual instrument would adversely affect his reputation as a builder of classical guitars, he built the instrument as requested. Klugh loved the guitar, and immediately requested that McGill build others. McGill guitars have been used as recording instruments by Chet Atkins, Earl Klugh, Muriel Anderson, Peter White, Marc Antoine, Jim Stafford, Wayne Wesley Johnson, Nokie Edwards, Don Potter, Steve Earl, Larry Koonse, John Standerfer, Beth Nielsen Chapman, And many more. In 1998 McGill made his first Nylon string electric design, the "Super Ace". The guitar is the main nylon string performance instrument of both Peter White, and Marc Antoine.
Given McGill's broad reach as a luthier and his inventive approach, this guitar has a unique bracing pattern inside - it is lightly braced with 5 fans and a Bouchet-style under-bridge brace (which is scalloped at the ends and has openings that allow the fans to pass through). The sides are veneered - but only in the upper bout - from the waist down, it is just the single cocobolo sides. Additionally, it features two long "floating" braces that extend vertically from the either side of the fingerboard all the way down to the sides of the lower bout, attaching to side supports near the foot. This seems to add structural strength to the guitars otherwise light build for its size. Sound is especially clean and clear for a cedar top, yet it contains a healthy amount of very controlled overtones to give the sound plenty of density in every note. The internal work is matched by a bold exterior appearance with a tapered bridge and steel-string-esque head shape, tapering to the top and rounded with tall slots that follow the curvature of the top of the head.