The trim, such as it is, is very simple: the rosette was split from a piece of firewood that had some figure in it, with black cardboard forming the dark lines; the bindings and back stripe are some figured jarrah from an old fence paling and the headstock facing is Huon pine from the ends of a broken spice rack. The fretboard is brush box from the bottom plate of a stud wall that I removed. The fretboard edge markers are from a pair of 3mm aluminium knitting needles found in the bottom of a wardrobe, which then lived in the cutlery drawer for 12 years. The bridge is more of the meranti. The sound board is finished with high gloss French polish and the back and sides are finished with nitrocellulose lacquer. I used my usual falcate bracing pattern. So, how does it sound? Well, I'm not going to tell you that it sounds just as good as my usual guitars. These pieces of radiata pine had a density 30% greater than Engelmann spruce (for example) and it's only ~65% as stiff, so that straight away limits the monopole mobility. Having said that, it will still blow most things you can buy in a shop off the shelves. So it definitely has the Gore family sound, but just not quite as much of it. Here’s 19 year old Tom Langford, who was kind enough to record a couple of demos for me, playing “The Shed” guitar, so you can judge for yourself. As usual, no effects or EQ were applied. Tom: Day Tripper (1.4Mb of mp3) Tom: Never Going Back (1.7Mb of mp3) | 
Here he can be heard performing his arrangement of British folk/blues legend Davey Graham's composition 
