G&L Guitars

The irreverent, entertaining, cool, go with me to LA, top radio. Your message to all of NUTSAR, with Jet Lolo, holy fuck, every top radio. Guitar, an amazing instrument, and has developed into an incredible voice in today's music. So many types of guitars, so many styles of playing, with all sorts of gear.

How does one make their voice be heard as a guitarist? My name is Jeff Florow and welcome to All About Guitar, where we talk tone, we talk technique, we talk gear. Where we discover how we can become better musicians in a world of constantly changing technologies, where we take a good look at everything guitar, and sometimes not exactly guitar, but just as important. So we can be more successful as a musician in today's music scene.

So sit back and relax, and let's explore All About Guitar. Good evening everybody, welcome to All About Guitar. We have a great show tonight for you, and it's my honor to have back, some of my good buddies from G&L guitars, or CLF research, depending on which office you're looking at. Ron Moreno, it's great to have you back.

You've been on for so many times, I can't remember. It's been from the very beginning, so it's like to have you back on. And David Brown, who works at the Custom Shiloh, there you go. Talk a little more, let me get you.

Hello, hello everybody. There you go. And we also have another special guest, Pablo Padilla. It's great to have you on here.

Try your mic. Hello. There we go. He's got, okay, let me give you one more gain.

There you go. Hey, Jeff. That's good to have you here. Anyway, so it's about time.

It's been overdue that we have a little talk with G&L, see what's going on, they got two exciting things happening right now. I'm going to let Ron explain what they were doing over at NAMM, and these new guitars that are coming out, and this is a fascinating story about these guitars. So I'll let you take it, Ron. We're coming off the Summer NAMM show just a few weeks back, and we officially released the story for the Espada, which you see here.

We released that at the Winter NAMM. However, we had failed to tell people what it was or what the story was at the time. We just weren't ready. But now the copy's been up over the last couple of weeks.

Dave McLaren went ahead and put that on the website. So if you go into the website, you find the CLF research heading. You click on it, then you'll see this particular guitar in three tone, and the copy will be next to it, explaining where it came from, which in a short story is Leo Fender had started working on this in the late 60s. Wow.

There was a body and electronics in the factory that we probably had seen hundreds of times and hadn't thought about it, but it was just a raw piece of wood, the beginnings of the kind of being pick up, and the control plate that was flipped over that he had been working on, play around 68, which would have been the time that CLF researched the company for Leo was his company that he would have been doing designs for in the intro between Fender and coming out of the contract. So he had been always designing in this particular body with the control plate, John McLaren and Dave McLaren had it there and wanted a reverse engineer what was going on with it because it was a dead circuit. They had batteries where there were six double A's to power it, and of course it wasn't working. So they wanted to find out what was Leo's intention and what was he doing at the time.

So you're going into 70s, 70s, musically he's getting a lot louder, and Leo's thinking, well, I'll put a buffer on the guitar for the guy's signal back to the cable logically. You're thinking, well, I'll let him control it from the guitar. So the beginnings of the PTB, which is the bass and treble control, the buffer has a passive switch, so if you're not using the battery, the tone control still work. You put it in the middle position, buffer goes on, and then one more click is the buffer with the treble boost, which just gives you just a little more of everything.

So there's a three position switcher, this white one, if you can see it. So right now it's off, so it's just passive pickups. The middle one is buffered, but just that, I don't know what, vault, and then there's a boost buffered boost. So you can kind of overdrive your circuit.

And you got to remember, this was designed with 68. Yeah, he already had that. And I think about what was out at that time guitar wise, he was working on this. It's pretty amazing.

The beatings of the Satellock bridge was on that particular body, which didn't look like this, but the concept for it was already there. The control plate, the parallel series, which he would have done via G&L because he would have given the guy that. And then we had to go ahead and take the pickups that he had and make them the MFD that would have been done at G&L at the time. So, you know, there was a lot of, you know, engineering going on here to figure out what he'd done and where it was going to go or what it would eventually have landed up in the 70s.

It would have looked like a fender that would have had blocks if it had been, you know, completed because it would have gone into the 70s. So we went with the blocks. That headstock was what it was. The name of the guitar, Dave McLaren, had that name stored for a bass.

But if you look at the guitar itself, the drawings, where there was about six or seven that George Fullerton had drawn up, and if you look at the body, it's a little bit different. And of course, the French curves that he's got with the control plate kind of look like a knife and a spot, I mean, sword. So, logically, it was like, that's the name that this guitar, you know, should have and belong to. Now, one of the things that you should note, it's got the sculpted, I forget what they used to call that.

So, we were going to call it the belly cut. Yeah, well, we call it the belly cut, but they call it the contour. Yeah, contour, contour. But notice that the edges of this are rounded and smooth.

It's a really nice guitar. It's not like the, you know, like a, for example, the best comparison would be like to a tele or an Asat where it's a hard. Yeah, it's, but it wasn't his body. You notice at the bottom here is a little bigger.

And it had its own shape. We even replicated the battery of the back plate here. It says battery on it. And that's where the way, you know, they were able to fix.

They were able to fix six double A's in this little. Well, no, the original one didn't have that. He was just working on simply the wood and the control plate. And this, and then, and this was the original headstock design.

Yeah. So he had already thought of that back then. Yeah. That's pretty amazing.

So what, what is this? It's an ash body. Yeah, they both come. There's two versions.

This one, Ash maple with the blocks. The other one is Ash Caribbean Rosewood with three tone with tortoise. Yeah, that's the one. There's, there's a picture of that with the Rosewood or the Caribbean Rosewood fretboard.

Now, so you have your pickup switch to typical pickup switch. This red one is. Series parallel. Yeah.

Oh, it was what he would have given you right at the time. If it would have been a G and L, he would have figured it away to give you more than one option. You know, and that's it again. Sixteen.

Yeah. There was no series in parallel that didn't exist and then the buffer and then he always had it set up. So the on these, these guitars, especially the the volume and tone worked on any. Yeah.

So that's pretty amazing. Yeah. Let's go to it. I'll take that and just show a little bit of.

Now he just put in the boost. Yeah. So I think see if you play. It's passive with the treble boost.

Or buffer on buffer with a little more topping. Okay. So all the way up is off. Yeah.

Yeah. Yeah. Yeah. Okay.

I had it wrong. Okay. And it gets a great that keep playing. We spoke pickups together.

You can hear the pickup has a lot of characters. There's a lot of overtones and character to it. You're getting that. The pickup had to be under wound so that it would, you know, pair with a buffer.

Right. So this particular guitar just has its own sound compared to the rest of the family. It doesn't duplicate anything that we've got going right now. Which is.

It's nice because it does things that you know you normally wouldn't have expected from that guitar. Especially a lot of guys that play it just love it's a comp on it. You know, the rhythm and stuff. It sounds really great.

No, it's got the tone. But it gets a little bit. Now is there any difference in the pickups on this and the other one you have with the three pickups? See coils?

Yeah. It's not the same formula. Oh, so it's totally different. It's just it's got a lot of tone a lot of communication to it.

Now do you so you just have the two models or what else is one model and two colors? Okay. Yeah. But you have the option of Rosewood or Maple.

Right. And with between the two colors right now. Oh, so when's one right? Right.

And we'll see as it goes. You know, we're just shipping them over the last month or so. So we'll see how they do. But I'm expecting that guitar will appear in other colors.

Now that only comes with the fixed bridge or can you get the whammy bar? Right now. It's just a saddle lock. That's what the original one on the plans were.

Oh, okay. That's we kept it to what you know, was on the blueprint. So that's a great sounding guitar. No, those pickups are great.

So pretty unique. Yeah. No, no, that's a great circuit. So that was how did that in them?

I'm pretty sure a lot of people were like a lot of people looked at it and go, what is that? You know, but I think when a lot of guys get to hear it, they just it's a blast to play because it isn't like any one of their guitars in the collection. So you find yourself doing or playing differently because again, you know, a sound can, you know, I agree with you. This guitar needs to be heard because when you hear those pickups, that makes all the difference.

And again, with the switching and stuff on the G&Ls, it's always, he really does expand the tonal capabilities. It's gone a step farther than what he was doing previously. I mean, from 68 to January of the winter show this last year, we brought it. That was 50 years in the making.

Yeah. That guitar was just born. I mean, he had started it. And George had it drawn up.

It just would never, it never was made until we had done it completely in January. Wow. So that's really... Did he ever talk about it when he was still alive?

Did he ever talk? No, it was just a running... It was just a project that he had had there, you know, but it was never a completed guitar. It never got that far.

That's amazing. That's amazing. And then once you realized it, how much, I mean, it's like, God, I wish I had this Macman. Yeah.

I mean, that would have been a game changer in 69, 70. Yeah, it would have. Would that buffer in there? Yes.

I mean, all the guys, everybody was trying to use those power boosters. They all P.B.1, the electronic's, and that would have just done it. Well, look at today. I mean, guys are using buffers.

Guys are using boost pedals, and this guy had it already figured out Macman. Yeah. No, it's amazing how far in the future he was thinking even then. And we already saw his legacy with Fender, the Fender guitars, which in themselves was innovative.

Well, you could see his headspace was already, what can I do better? What can I improve what I've just already done? And with that already in 68, 69 going into the 70s with music man, what he did with that. And then all of that stuff carried in the G&L.

Yeah. It all landed up there. Yeah. The other thing that I want to mention too, you can see the development.

If you remember either the telegrage and even the, the, the, the strap ridge, you can see there's more mass, so more sustained. Now this one isn't through the body. This comes from the back out of here. Yeah.

There's a heel that goes into the body. Oh, in this under this? Yeah. So it transmits.

So it transmits. So if the idea is to recreate would have gone through the body and the tension. Screw here would have tightened up your saddles and taken all that energy, put it down into the saddle into the body. Oh, that's what the sides screw is.

What does that do? Just push them together? Yeah, tighten them all up. So there's a screw right over here on the saw that puts and then that keeps them from blocks of sound.

Yeah. So there's, there's solids of the whole thing vibrating and it's going into that plate. You want to maximize as much as you can get from the string into the body and vice versa. Yeah.

And even we'll see on one of the other guitars that they brought with the tremolo. Same thing. The mass of this is superior. You can hear the difference.

It's, it is an improvement over it. It's totally adjustable. So you can really get the intonation, right? It really works well.

It's just well done. It's a well done guitar. This is amazing. 69.

Yeah. 1969. Okay. Well, listen, let's talk about this guy.

Yeah, this was cool. We showed this at the summer show just a few weeks ago, which was the first short scale bass for us. It's the fallout base, but essentially it's the L 1000 in a short scale body with the aesthetics of a fallout guitar. Hence the pig guard, the body style.

So you make a guitar called the fallout. Yeah. So that's this base and it's the L 1000 in terms of electronics. So the parallel split and then last being the OMG settings and series with the little cap on there, the boost, which you would hear when you go from parallel to split to the OMG.

That's the one I use. That's what I, my O 1000 had, I can run that into a recording console without a preamp. It was that powerful. Yeah.

Most guys are going to think this has got a preamp in it. Yeah, it's, it's passive. It's passive. It's amazing.

And then, you know, if you want to adjust the pickup accordingly, but this will be available with the Bella Short Scale Strings in nickel. And we'll have an option for flats as well. And they'll be launched with the British Racing Green. That I have a matching headstock.

This was a proto. We didn't have time to paint the neck, of course. But it'll have painted headstock fallout based decal would be on here as well. And then the other one is Miami Blue with a black competition stripe and black guard and a matching headstock.

Those will be available up until August 31st. You can order them up until then. Those will probably sell through. And then once we're in the December, January, how many are you making of each?

As many as they're ordered, we're not going to put a number on it. Oh, okay. That'd be easier. So we'll do that.

We'll launch those in December and January. The standard versions will come out with no competition stripe in various colors, no matching headstock. And these colors won't be replicated. They'll go to shell pink, like, passive blue, black, white, silver, and red.

That'll be one. And those will be at $9.99. Come with a gig back. These are at $12.99 with a gig back.

But these certainly will be limited. Not only color, but the competition stripe. You can't really lift it up a little bit. And you can't really see the color, the richness in that green.

It's pretty amazing. So this was the hit. And for those guitar players that have a studio, they play based on their own stuff. They don't want to transition to a regular scale instrument based.

They pick this up and they can go right to it. Were you involved in the design of this? Yeah. What were the problems doing a short scale?

I'm curious because that's pretty small. But it's the same scale that is a bigger one, right? It's 30 inch. I suppose a 34.

No, but how many frets are St. Francis, right? I think it's a 19 fret. And the regular bass.

I'm saying you compacted it down. Yeah, I mean, there was an issue actually. We had made a pass at this being the tribute version first. And we got in a sample.

And it was about an inch and a half too small. And it just didn't look right. We could have put it out. Most guys didn't think much of it.

But to scale with the neck and the body, if you were a little bigger, if you played regular bass, it would have been a little bit too small. So it wasn't able to keep the intonations. The more you put the bridge. But it just didn't look right.

So we didn't do it. And we took time. We did the program came out with another body. Did this one here.

The first couple of ones will be, well, this will all be US until we get to the tribute somewhere in mid 2020 at some point. So you're going to make a short scale tribute? Yeah. Eventually.

But it's down the road. The thing that amazes me about it for the short scale is it's deep. A lot of it's the pickup is deep as it is. But comparing it to my 1000, it's deep and the longer the scale, the deeper it is anyway.

Actually, this gets more tuba-like. A short scale we get more tuba-like. So it would be fatter sounding inherently. And we thought it might be too much.

But it wasn't. It was well balanced. And there wasn't a bound sound on it. Now, what's the body made out of?

Alder. That's Alder maple with the rosewood. Yeah. Curriculum rosewood as we use.

Go ahead and play a little bit and kind of show some of the sounds. So this is the first position. The split one. A little more tough.

A little single coil action. And then OMG. That's the one that will drive up a recording console. Yeah.

It's just right on. That sounds great. That's a great... You know, you with a pick or...

That's a good one. ...or a little too much. Or an OMG. And then once you put flats on it or whatever you're going to put, they'll be available with both.

There'll be lots of sounds to get out of this. And there's not a bound sound on it. They're all useful in every position. So it'll record really well.

It's going to sound great. I mean, it's a lot of bass with a mic. It really is a lot of bass with a mic. So this I'm expecting, it's going to do very well.

Now, when you get to the generator, do you think, well, this is... I don't know if you can do this. Can you do like a 5-string in that short scale? Is that possible?

That might be too much. I'm just... You went there. Yeah, go there.

Sorry. Sorry. You know what? You never say never.

That's one of the things that we never say. Because even though we're coming out with things that are new and our takes of things that Leo might have done 60, 70s, 80s, we still always go back to where we come from. So we don't do anything that doesn't make sense. But you never know.

I mean, we may do that. I'm just curious technically if that's a problem or something. I know there's doing a short scale. It's not that simple.

That'd be a lot of tension. On a little neck. So there might be a little engineering that way where we'd have to look at the truss rod. But otherwise, this sounds so fat.

You don't really need one. I can play a 5-string but 4-string. I'm still old school. That thing just sounds amazing.

It's a good sounding. It's the... I think it's the hot thing of the year for our guys and bass guys. The bass guys and girls are going to buy it anyway because it's just cool.

You've got to have it. Well, I mean, for a quick gig type of thing, especially in a gig bag, it's handy. It's small but it does the job. It has a place in recording and hitting.

Now, is this only soft shell case or can you put it? Only the gig bag. No. The hard case.

For the money, we can only do a gig bag at the moment. Plus it'd be a whole new case thing and all that. Not to mention, if you're a bass player, you have a couple of bases. You're going to put it in your double gig bag or throw it in there with the other one.

No, that thing just sounds great. This is a good one. I think it's a winner. From what I've seen on the internet, people have been asking for a short skill for a long time.

This is like two years in the making or better. I'm happy to have it out and be making it. It's the fallout base. Okay, now, let's talk a little bit.

You brought some other guitars from Dave's on the Custom Shop. Let's take a look at some of these things that are interesting to you. They've been doing some interesting things with the woods. There's actually some new things in the queue right now that they're going to experiment with.

Tell us about this guy. That's an ASAC Classic Blues Boy made out of guanacoste. The body. It's not too heavy.

It's pretty light. It also has a roasted flamemable neck. I don't know if it comes across on the video, but this is beautiful. It's very soft and silky.

That looks 3D-ish. It sounds great too. It's a good combo between that body, which is warmer. But with that neck being roasted, maple, little brighter, it's a good combination.

The pick-up's a good combo. We also did a roasted ASH version of that with a roasted maple neck. Now, that's what I was going to ask you too, but you're roasting the bodies too, besides the necks. The materials are already purchased roasted.

We're not doing any of the actual roasting there, but we're messing with roasted materials for the bodies. What are you finding on that? I'm curious. What does it sound like?

Is there a noticeable difference between a rosewood and a roasted... Roasted ASH versus regular ASH? Roasted alder and regular alder. I think that'll be the same anywhere across the board.

The alder in a roasted version has a little bit more low-end, little less highs. It's not so... It's a softer sound? Yes.

It's a softer sound. It's more noticeable in the ASH as well. The ASH gets a little more woody sounding. You did this on guitars, or did you try this on basses?

We've done a couple of basses, but mostly we're doing it on guitars right now. Okay, but you've noticed the same thing, a little more low-end on the basses. That's fascinating that you're doing that. Let's take a listen to this guy real quick.

So now you have the... is that an A-set to Bridge Picket? Yeah, that's an MFD. And then what's the humbucker?

It's something we make in-house. It's... Smaller, the humbucker. 59.

Okay. Okay, go ahead and go through the bridge. It's on the bridge picket. Then next pick-up.

Next pick-up. It's interesting that the two pick-up is... A lot of overtones on it. Now bring the guitar up for me.

Take a look at the bridge on here. Now, this is interesting. This is brass, right? Yes.

So, you're using a brassgas DEN-RIG, and that's a custom order? No, that's our standard steel box bridge. Really? Yeah.

With the brass. through the body. Oh, turn it around. So it's going in through the body.

And this neck is really nice. It's really thin and comfortable to apply. I was noodling on it earlier before the show and then just standard electronics. But this pickup's nice.

It's pretty bright. It's good. It's a good combination with the bridge pickup on it. Yeah, no, it works really well, but it sounds almost like a it's a humbucker for sure, but it has the bite of a P90.

It does get that kind of sound. It's pretty bright. So yeah, no, that's a beautiful beautiful guitar. Now, um, this is...

Well, it costy. Well, it costy. Okay. How do you categorize it?

Is it more like an ash or more like a rosewood? I would say it's more like an ash in that it is... the grain is very open and porous. So we haven't done any staining on it or anything like that.

We just been doing any satin finish on it. We've done stuff. So this is the natural color of the wood? Yes.

Yeah. Now the satin finish, do you think that's important for this type of wood to let it breathe? Or how would it sound with a lacquer? Most of the people...

Well, we've done a few in the gloss, clear gloss over it, but most of my words come in as a satin. Really? Really? Yeah.

Have you noticed the difference in the tone from the gloss? I think they sound a little bit better when they're glossy, but we've only done a few. So that's a good combination there. It does allow the wood to breathe and resonate quite nicely.

But I want to do some... I want to do some experimentation with some staining on it. Maybe around the perimeter do a little bit darker thing. Make it look kind of like a little...

So this is what is always this darker? Yes. It's always a lighter one. There are some pieces that come in that have a white streak, but we haven't...

We've really been just not using that part. We could do one down the middle, but there's a spread that work that has a streak down the middle. It's blonde, but we haven't cut it yet. We haven't done any of these with a top on it.

Like a maple or a... No. Or yours. I forget what you call the...

The Buckeye Burl? Yeah. No. We've just been doing it like that.

But we've been doing the ash with a lot of tops and draw tops on it. Oh, okay. Yeah. So that's a beautiful guitar.

So that's pretty easily available to order. The custom shop. Yeah. Yeah.

And you have to make it purr, but it's like... It's not hard to get it. So... Oh, that's great.

Okay. Let's show this one. That's just a standard HSS. Legacy body and black burst.

Hand-blasters. I don't know if I can see this, but you can see the grain a little bit. There is actually a little bit of a burst that's very dark. I love this tremolo.

So that's our standard black burst finish, but it's done in a frost top coat. So it's satinized. It's not glossy. And I think it's got a good look to it with the black pick card and the zebra humbucker.

Now how does that affect the sound that? The frost? With ash, I don't think it affects it that much. It's still a very thin finish.

I mean, it's thinner than a gloss finish. But it's not going to impeded that much. It's just a look. It's more about a look.

That's got a ghost flame neck and that. Dave is making those zebra pickups in-house, and he's making a P-base pickup for me in the matador, which I didn't bring, which is also a new base. But he's making them on Leo's sewing machine hand winder from 68. That's how he makes our custom shop pickups.

Yeah, I've seen them wear that. There's a video that I have on the all about guitar site when I went over there, and he showed me the winder. The little winder. This pickup's sounding really good.

Oh, yeah. Well, let's take a listen to this one on here. So this is the humbucker in the bridge. Neck pickup.

Middle or? Oh, that's the out of it. Yeah. Neck and maybe two.

Go ahead. Do the middle pickup. Middle? Middle.

And the middle and the humbucker. Middle. Now, what are the middle and the neck pickup? What are those?

Those are standard legacy pickups. Do standard Elinco 5? No, they're not as hot as some of the other ones, or are they hot? They're pretty much a standard output.

6.3. Because there's a lot. The reason I'm asking is there's a lot of tone on them, which usually means they're not as hot. They're not as hot.

They're in the 6.7 range. So would that be closer to like a 60? 60 strap. Yeah.

And then I'll switch as a coil tap for the bridge pickup. Oh, what is it right now? Is that the humbucker? I think the up position is off and down position.

That's the humbucker. Keep playing. Keep playing. Here in the neck.

Now, this tremolo is a little different than the doheny one. No, it's the same one. Do a fulcrum. I thought the doheny had more bass back.

No, it's the same one. Wow. That thing's pretty solid. That sounds great.

These tremolo are really smooth too. They're really lovely. Yeah, they were great. And now that thing's amazing.

I love the tone on those pickups. Those pickups. Now, this is maple. Yes.

And what's this fret word? It is em. It's nice and dark. I love the sound of that thing.

That thing is just amazing. The rock and roll machine. Now, if somebody wants to order a custom instrument and you have to understand, they have all sorts of cool exotic woods and you can basically pick like some of the burled wood. Explain that so the people don't understand.

So the Buckeye Burled, it's a burled is really an infection that a tree has and it mostly happens at the bottom where the tree meets the ground and left over time, it begins to swell up and become a giant callus basically in this sort of burled is inserted. So what people do is they'll cut it out and start slicing it and you'll get giant pieces that you can make table tops out of and it just gets a really nice burl pattern. Sometimes it's gray. Sometimes it's in the brown range of color.

So what we do is we take something like that and we book match it. Sometimes you do have to fill some voids in it because it is a inclusion into the tree trunk. It does have some voids in there. And after that you can stain it, you can paint it natural.

There's a lot of samples of instruments that we've made at the custom shop on our Facebook page. And you can see them there. I've dyed them, stained them, left them natural. The other material that we're messing around with right now is we have some of the Caribbean Rosewood that we're going to be using for tops.

So the material comes in, this is a fingerboard size but we're getting Caribbean Rosewood tops and book match them and check them out and see how they come out. That should be interesting. We're also doing a lot of spalted maple. I'm making a guitar for him right now for Pablo at the spalted maple top with a roasted alder body.

Wow. It's really, really light. It's ready to cut. We're still trying to figure out what pick up configuration we're going to go for him.

Now when you use the burl to use that top, is that function, does it give you a brighter sound like doing a maple? No, if anything but the burl, it's more porous so it's going to just mellow out the sound a little bit. But the top is only $250,000 stick at the most. So I usually use ash or I use gouve for the back.

What do you use to fill it in if you need to fill it? We use fillers like epoxy. What I do is I take other pieces of extra pieces of burl and I try to make a cutout that will fit in there nicely and patch it in there so you patch work. It's not a lot of that.

We try to get tops that don't have a lot of voids but sometimes you can't. It doesn't make that much of a difference filling out. I think the epoxy would make it. You never know when you're looking at it.

No, but I mean tone wise. No, it's just a small area. It's not going to affect it. A lot of it gets cut out.

So what I do is before I cut the body out and I have a picture in my mind of what it's going to be. For example, if I'm going to be doing an Aset style guitar, I try to get the voids into the cavities as much as I can so I know they'll be cut out once the body's routed out. Right. Right.

So I don't have to worry about it. No, that's amazing. The guitars you brought in last time that some of them have, they just sound like the woods are incredible. So it's interesting with the doing the, the making the wood where you're cooking it a little bit with the torsification, the that's amazing how that's, that makes sense that it would be lighter because a lot of people are screaming for lighter guitars and all there is a lighter wood.

You just take a little moisture out of it. Yeah. Yeah. But it's interesting.

It's really, it's really fascinating. But anyway, if they want to get a custom made, what's the procedure? Well, Ron, want to tell them? Normally, it's just a contact, a dealer that is a custom shop dealer and pick a model within the catalog that we do.

And in this case, if it's woods that are small, they're quilt pops or roasted flame, you figure out what you want at body or neck wise and then pick up configuration. And then just get a quote. Now, where do they find the list is that on the website, the list of custom shop? There is.

Yeah. There is a list on them. And let me point out, I mean, the woods that we're talking about now are just amazing and they're beautiful. But they also do really cool paint jobs and they're metallic and metalflake to die for.

They are incredible. It's the biggest metalflake in the business. Yeah. Yeah.

He has. So big, it has to be sprinkled on there. Yes. Yes.

Again, we went, when we took the tour and I did the Facebook Live, you can see it. There's just these chunks of metal. It's a bag of flakes. Yeah.

But I mean, you know, it's not just, it's not just these natural, which are beautiful in themselves, but you can get these custom colors that are to die for. And they're just, they're amazing. And he does some really cool little inlay things like he was showing me on one of the guitars in the video. He inlayed the G&L in the back of the custom shop.

Yeah. That's our custom shop logo that's in laid on the back of every custom shop guitar. Yeah. Right back there.

So some of them are in late. Some of them are there. Yeah. It depends.

It's not a decal. It's an actual, that one happens to be a mahogany in late in the maple. It's right back there. But you can see it on the video that we did over at the G&L the factory.

You can see that in there. It's beautiful. So yeah, he does. And then like the roasted ones, you'll have a maple or something.

Yeah. The roasted will get black. Usually we just feel like I was doing the the quilted maple patch on there, but it didn't have the right look. So we're just using black for now.

The other material that we're using for next right now is wingy wingy materials, real dark, dense, almost like a mixture between Evanie and Rosewood. If you could marry the two materials together, it's very heavy, very dense. And that one gets a laser logo. And that's it.

It's not filled. It looks really nice because of laser machine. Actually burned some of the material at the bottom of the bottom. Now, have you ever roasted the wingy?

No. That's not a bad idea. I don't know how well it will roast. It's a very oily wood.

Like Rosewood. I don't know that Rosewood would roast. Yeah. Try to say that three times fast.

Well, no, you're putting Rosewood on that one guitar. I'm just curious. Yeah. But yeah, I haven't had any Rosewood.

Yeah. The wing is oily. Yeah. It's kind of like Rosewood is too.

Rosewood is an oily wood. But it's more dense. Like I said, it's got it almost looks like Evanie and Rosewood. Like Evanie and Rosewood melted together.

And the patterns that you get on some of the quarters on neck mics that we use. It's just they're just amazing. It's really cool. And the have you ever roasted?

Ebony? No, I don't know. Again, I don't know that you can. I'm not sure.

It's very brittle as it is already. Yeah. The rose is cracking. Yeah.

So we use medium roast materials in the custom shop and you can get the darker rose system. So if you look at that, that's a medium roasted maple Nick. And we chose medium simply because it's not as dark. And the way I understand it is the more you roast it, the more brittle it gets.

So it's brittle to the point where if you were just to hit it on the bench, it would splinter really easy. So the medium stuff seems to work in fine. Yeah, I see more of this color and some other guys that are using it like a basis and stuff. It's never darker than this.

But this is for you. I mean, this the grain on here is just great. And even you can see it on the front too. It's harder with the frets, but it's, you know, it's the same piece of wood.

It's all one piece. Oh, yeah, we cut it and insert the truss rod and then glue it back on. So it's a song. It's on from the top.