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Although inlay can be done on any part of a guitar, it is most commonly found on the fretboard, headstock—typically the manufacturer's logo—and around the sound hole of acoustic guitars. Only the positional markers on the fretboard or side of the neck and the rosette around the sound hole serve any function other than decoration (the ...
The mosaic inlay patterns come out of guitarmaking design: guitars have open soundholes bordered with inlaid patterns of dyed pieces of wood. These inlaid mosaic patterns are a form of fret ornamentation, an effect made by laying pieces of material of the same size next to one another and thereby producing a design.
The guitar was subsequently owned by Gary Moore, ... hand-painted with psychedelic patterns, ... Numbers 2 and 3 were 1979 block-inlay Flying Vs; and Number 4 was a ...
The X of its scalloped bracing pattern is shifted forward (toward the sound hole) by approximately one inch, making the lower bout top vibrate more freely/responsive, and resulting in a very potent and bass-rich guitar. D28E: A very limited run version of the D-28 with special pickups placed at the end of the fretboard and near the bridge.
The guitar features a 5pc maple and walnut neck with a rosewood fingerboard, and vine neck inlay with red accents to match the body design. Complete list of JEM77 variants: JEM77FP - vine inlay, Flower Pattern, American Basswood body (years of production 1988 - 2003)
From its introduction in 1922–23 to the 1940s, the L-5 came in different configurations (all strictly acoustic): Type one 16" - As it first appeared when originally introduced in Gibson's price list (April 1923), the L-5 sported a 16" body with a Cremona brown finish, birch or maple sides, a single-bound, 20-fret fingerboard with a pointed end, dot inlays, a slanted "The Gibson" script logo ...