My 000 12 fretter has been (mostly) finished for a few days. Been trying to find time to take some (bad) pics. Still have some final clean up to do but the set-up is done and the major work is complete.
Always need to thank everyone here as it just wouldn't be the same without you guys and gals and really could not be done without you all.
Some specs
Deep body, 4.5" at the tail, 000 12 fretter.
Only 15 frets - don't use the others.
Top: Redwood from LMI
Back and Sides: Bloodwood from LMI
Neck: Mahogany slot head from StewMac dyed with custom bloodwood dye made from pieces of bloodwood soaked in alcohol.
Fretboard: Bloodwood from LMI
Bridge: Bloodwood from LMI
Tuners: WAVERLYS!! Yum!!
Scale: 25.4
Saddle: Bone
Nut: Bone
Pins: Bone with abalone inlay.
Finish: CrystaLac Super Premium Gloss Waterborne
I am VERY happy with the results. The pictures do not do the bloodwood redwood combo justice. And the CrystaLac was a great finish. I'd use it again.
The greatest part of the whole adventure is how nice it sounds. I am not exposed to a lot of great guitars so my sense of tone is limited but I cannot stop playing it. My fingers are killing me.
It's a deep body 000 so it loses a bit of the punch that a shallow body might have but the overal tone is very very nice. The trebles have the chimey sort of tone that I have never really heard in person. Crisp and responsive and will hold up fairly well to strumming though it is a fingerstyle guitar in purpose and practice.
I have a feeling there are many who would love a precise description of the bloodwood and how it contributes to the tone but I simply am not that great discerning tone and which woods contribute what to what. Sweet is a word I would use to describe the tone and am really surprised how well the combination works. I'll post an MP3 if I can get over my bad playing and recording skills.
A word about the sound port - It MAKES this guitar. I think the deep body may have something to do with the overall tone of the guitar without the port but when closed up the sounds seems to 'stay in the box' and literally sounds like it is trapped. The port opens the trebles and projects the sound, from both the players and listening position. An amazing difference. May again be a function of the deep body but without it it is a different and lesser guitar.
You can see here how I solved the problem of getting those last frets on the fretboard extension. I simply never play that high up the neck so I left the last few frets off. Can't decide if I want to inlay something there or not.
Head stock with Waverlys. I used the same sound port design to do my first abalam inlay and the Waverlys were a very hard pill to swallow after the expense of the guitar but THEY RULE as most of you know. They add such a nice custom touch.
One of the coolest and most challenging parts was dying the neck. I bought some red and brown dye from LMI and was going to try and mix up a great red/brown to try and match the bloodwood. But bloodwood when soaked in water or alcohol gives up its color pretty readily so I soaked some cut up scraps in alcohol for a few days and used the resulting dye to dye the mahogany neck.
It worked unreal and looks great in person BUT having a dyed neck makes it SO hard to sand and shape and I also laminated the bottom of the fretboard with w/b/w which couldn't be dyed so it had to be protected and glued on after the dying process - WHEW - that's a whole 'nother story and if you decide to dye, think it through because it is a hell of a lot of work if you don't stage things correctly - I know.
And finally the bracing that I used. I cannot claim that this bracing system sounds a certain way or adds a certain tone but it sounds killer.
Haven't you ever had the pleasure of playing Capo 10 
You should inlay that bit of the fretboard with "The luck stops here" 
Nice looking guitar, Larry. Obviously, a lot of thought went into this one, and it paid off.