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Mystic Ghost Mystic Ghost

Mystic Ghost is another addition to my Orley Five (O5) guitar line. The Ghost was completed in November 2016. Like the Mystic Dawn, Plum, and Mellow, this one is also is a semi-hollow body Thinline. The defining aspect of the Mystic Ghost is the body, neck, fretboard, and pickguard are all constructed from maple. As I was constructing this guitar and pondering possible names, the name Ghost continued to pop up, suggested by the light, white color of the maple wood. As the build continued, Ghost became the clear favorite and then dictated how this guitar should be completed. I decided to go full "Ghost" on the build. And how better to do that than a white pickling stain -- on the body, the neck, the pickguard, and even the fretboard. Then white fretboard dots and white inlay on the headstock. The result is an instrument that is true to it's name.

Like the other Mystic Thinline models, this to is a semi-hollow body version of the O5, comparable to the Telecaster Thinline, with single f-hole on the top side of the instrument opening to a chamber carved from the body.

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Mystic Dawn

Mystic Dawn is the third Orley Five (O5) style of guitars I've built. Mystic Dawn has a cherry body, maple neck, maple pickguard, and rosewood fretboard. To liven things up, this O5 version is a semi-hollow body guitar, comparable to the Telecaster Thinline, with single f-hole on the top side of the instrument opening to a chamber carved from the body.

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Mystic Dawn

Mystic Amber Mystic Amber

Mystic Amber is the second in a new line of Orley Five (O5) guitars I've been developing. The Mystic Amber has a solid mahogany body and neck, as well as a mahogany pickguard. I was able to find a slightly darker shade of mahogany for the pickguard to complement the lighter neck and body. I then went with rosewood for the fretboard. I actually did much of the work on the Mystic Amber and at the same time I built the Mystic Cinder, but by chance decided to finish and assembl the Cinder first. Like the Mystic Cinder I also made a Strat-like contour at the tail end of the body to ease the movement of the strumming arm.

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Grand Cheri

Grand Cheri is the fourth version of the Orley Four (O4) semi-hollow body electric guitar. This particular variation of the O4 has a cherry body and Brazilian cherry arched top (the "cheri" part of the name), with a grandillo neck (the "grand" part). Grandillo is a dense, sturdy wood, more so than maple and mahogany, and finishes with a near glass-like surface. I used a thin strip of mahogany for the accent strip through the middle of the body. Two cavities carved beneath the unique f-holes ad to this distinctive semi-hollow body design. I used ebony for the fretboard and aspen for binding of the f-holes, with grandillo used for the pickup brackets. Bridge, endpiece, tuners, strap buttons and pickup covers are chrome or nickel plated.

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Grand Cheri

The Lion The Lion

The Lion is the first electric guitar that I have built in the past couple of years, the first using my O4 body style. It is a semi-hollow design with mahogany body and arched Brazilian cherry top. I also used a piece of Brazilian cherry as an accent strip through the middle of the body. Two cavities carved beneath the unique f-holes give it the added oomph of the semi-hollow body design. The neck is also mahogany, with a bit of sitka spruce veneer on the headstock and rosewood fretboard. The pickup brackets are also mahogany. Tuners, bridge, endpiece, output jack cover, and strap buttons are all gold.

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The Palomino

The Palomino is my second Orley Four (O4) semi-hollow body electric guitar. As with my first, it is a semi-hollow design with mahogany body and neck. However for The Palomino I used curly maple for the arched top. I also used a piece of maple for the accent strip through the middle of the body. Two cavities carved beneath the unique f-holes ad to this distinctive semi-hollow body design. The mahogany neck also includes a slightly different shape mahogany veneer on the headstock and rosewood fretboard. The pickup brackets are also mahogany. Bridge, endpiece, strap buttons and pickup covers are nickel plated. The rest of the hardware -- tuners and knobs -- are chrome. The pickup brackets are maple.

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The Palomino

Marilyn Marilyn

Marilyn is the third Orley Four (O4) semi-hollow body electric guitar I've built. Unlike the first two, this semi-hollow design has a padauk body and maple neck. Like the Palomino I used curly maple for the arched top. I also used a piece of maple for the accent strip through the middle of the body. Two cavities carved beneath the unique f-holes ad to this distinctive semi-hollow body design. To maintain the maple/padauk theme, I used maple for the fretboard and padauk for binding of the f-holes and for the pickup brackets. Bridge, endpiece, tuners, strap buttons and pickup covers are chrome or nickel plated.

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Sunny Ray

Sunny Ray is a solid body electric guitar using the Orley Five (O5) design. The concept behind Sunny Ray was born on a long car drive as I pondered what I could do with boxes and piles of woodscraps left over from other guitars. Rays of assorted wood types -- mahogany, padauk, ash, cherry, and maple -- extending form a maple center. Continuing the piecemeal theme of Sunny Ray, the rosewood fretboard has a center stripe comprised of maple and padauk. The headstock has a veneer of curly maple and the pickup brackets are mahogany and maple. The component cavity covers on the back are padauk and curly maple. The pickups are Golden Age nickel. The Tuners are uncovered vintage. The rest of the hardware is chrome.

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Sunny Ray

Golden Boy Golden Boy

Golden Boy is one of my favorite guitars. I built this a few years ago, using my O2 body style. It is a sold body electric, with mahogany body and neck, and everything else constructed of wood. The mahogany composition generates a noticeable warm tone when played unamplified. The only non-mahogany wood is the rosewood fretboard. The Golden Boy moniker is a result of the gold hardware, from the Golden Age pickups to the Schaller roller bridge to the Gotoh Vintage tuners to the strap buttons. The pickup brackets, truss rod cover, and back cavity covers are all mahogany.

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Flat Ash

The Flat Ash is an interesting little guitar. This is one of my earlier models using the Orley Two (O2) solid body style. I also used an early version of the headstock design, the first one with the curved top, but a little wider near the nut, than my later heads. It represents an early, but notable, step in my evolution from Telecaster-style guitars that were my bread and butter at the beginning. This is reflected by the flat body, the through body bridge, and the lack of contouring or body shaping. I've had this hanging around for a couple of years. Occasionally I'll give it a strum and play a few songs. The ash body gives it a bit more heft than other solid bodies I've made from mahogany. The sound is spot on. The action is good.

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Flat Ash

The Mahogany White The Mahogany White

This is one of my favorite strumming guitars. The mahogany back, sides, and soundboard provide a warm, soothing tone. I call it The Mahogany White due to the white, aspen binding on the mahogany body. The neck is mahogany and fretboard and bridge are both from rosewood. This is the only guitar I've made with this particular scalloped bridge design.

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The Black Padauk

The padauk top, accented with the ebony fretboard and bridge, with the padauk tail insert, black hardware, and black logo head inlay, provides a distinctive look for this guitar. The mahogany back and sides keep the tone warm, but with an added punch from the padauk soundboard. The neck is mahogany and fretboard and bridge are both from ebony.

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The Black Padauk

The Mahogany Red The Mahogany Red

I call this guitar The Mahogany Red due to the red, padauk binding on the mahogany body. The mahogany back, sides, and soundboard provide a warm, soothing tone. The neck is mahogany and fretboard and bridge are both from ebony. I used a black head log inlay in padauk head veneer and matching black hardware to complete the design.

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The Rosewood

The Rosewood is named based on the rosewood back and sides. This particular guitar is a nod to tradition. With the rosewood body, sitka spruce top, mahogany neck, and ebony fretboard and bridge, I went with tried and true materials. I did, however, spice it up a bit with mahogany binding on the body.

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The Rosewood

The Red Accent The Red Accent

Mahogany back and sides combined with as sitka spruce soundboard provide the warm tones that I really enjoy. I named this The Red Accent due to the padauk binding and tailpiece inlay, combined with the red logo inlay in the head and hint of red added to the fretboard dots. The neck is mahogany and the fretboard and bridge are both rosewood. For a slight twist, I added a curly makore veneer to the head.

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The Brown

I named this The Brown because I decided against adding an extra color. But brown is good. It accurate reflects the warm, soothing tone of the sitka spruce soundboard, combined with mahogany back and sides. The neck is mahogany and the fretboard and bridge are both ebony. Keeping with the trend, I added an extra slice of mahogany veneer to the head. The body binding is Peruvian walnut.

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The Brown

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