THE COMMA SERIES
The Comma Series is a family of instruments that completely redefines what a high-performance guitar can be.
Multiscale design
Elevated fingerboard
THE COMMA SERIES
Radially braced top
THE COMMA SERIES
Internal carbon-fiber strut
THE COMMA SERIES
3-D soundport
THE COMMA SERIES
High-performance cutaway
THE COMMA SERIES
Arm bevel
THE COMMA SERIES
In designing the Comma 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 created by a centrally located 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.
Each instrument in this series features many modern innovations, all contributing to a thoroughly rethought playing experience. This is not a random assortment of fashionable features cobbled together, but a carefully composed suite of interrelated sonic and ergonomic details resulting in an instrument unlike any other.
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”, there's no learning curve when playing — 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.
The 3-D soundport is located on the upper treble bout of the instrument, and replaces both the traditional soundhole, and, by sculpturally dipping down into the side, also replaces the player’s port. This aperture focuses the energy of the guitar directly toward 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' Model names — all are references to this sinuous shape as found in the natural world.
Radially braced top — The most fundamental 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 palette.
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 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 player's side bout offers a gentle, comfortable surface for the right forearm to prevent the discomfort that can be associated with a sharper edge. Aesthetically, it also creates, along with the 3-D soundport, an organic serpentine shape that evokes the stroke of a calligrapher's pen.
The Sidewinder
Named 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
This 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 | 1-13/16" |
| String Spacing at Saddle | 2-5/16" |
| Fingerboard Radius | Compound 14 – 20" |
| Lower Bout Width | 14" |
| Maximum Body Depth | 4-1/4" |
The Ibex
This is my ultra high-performance parlor guitar. It is only 12 inches 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 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 | 12-1/8" |
| Maximum Body Depth | 3-7/8" |
