Attaching a pic from last night’s show. Goshawk in action in Baton Rouge, LA. It’s officially my new #1. The Goshawk inspiration continues. I don’t recall the last time I wrote and conceptualized new techniques and melodic ideas which such freedom. Playing the Goshawk (and the 24 fret Spearfish) bring me back to a time akin to when I first started playing, around age 14-16. The guitar was like this massive book I couldn’t wait to open and explore every minute I could. I’ve been playing for almost 30 years (who’s counting?), and I’m back there again. Thanks for re-lighting my fire to write and record this record. (Matt Richard)
Bespoke for Victor in Chicago. Swamp Ash, carbon fiber. Element™ single billet aircraft aluminum neck. Patented Intonation Cantilever™ bridges precision machined from stainless steel, bearing bronze. DiMarzio™ exclusive pickups with 10-way switching.
Speechless, Rick!!
I absolutely love what you did with the body shape. It has its own character vis-a-vis the Fathom™ and others.
Nailed the finish, too. Just like the majesty of a raven’s feathers in sunlight! How’d you manage it?
You’ve outdone yourself with the Raven. I have a multitude of things I could say, but, pending a more detailed report, I’ll just say that the instrument excels on every level.
What’s most impressed me in these early stages is the playability. It feels even more comfortable to play than the Spearfish — that same Element™ feel, but perhaps just the right amount more tightness in the bends and vibratos. Just perfect. And the extended-range functionality is just insane in the best way.
I like to play any new guitar un-amped for a fair bit to get acquainted with the feel, the sound of the pick contact, and the natural resonance of the guitar, and the Raven impresses in all respects. In particular, the setup is fantastic — low to the deck, but not to the detriment of the satisfying, almost springlike attack.
On a different note, I’ve really enjoyed seeing the subtle changes in the finish under different lighting. I’ve also found myself staring at the guitar a lot: even if it weren’t an absolute sound machine, it’d function just fine as a standalone marvel of design!
Stay tuned for a more detailed update later, but in the meantime: thank you. This instrument is a joy. (Victor, Chicago)
Saturday evening Killick txted me: “Livestream tonight…my part starts in 15 minutes.”
I followed his link, not knowing what to expect. He was, in actuality, live improvising (with Walrus) the soundtrack to Lacunae modern dance MFA performance at University of Colorado, Boulder.
The show will use the spiral, gesture and drive of bodies to craft a collision of apocalyptic, upside-down fairy tales, feminist ruminations on neurological difference and site-specific experimentations involving questions of intimacy, connectedness and the unknown.
Killick truly finds the most interesting paths.
It was about four months of remote back and forth collaboration under choreographer Kelley Ann Walsh’s direction…for each of the 3 shows there was 25 minutes of pre-recorded music (all original plus building on a theme from a project of mine with Federico Balducci) over top of which I improvised with the fretless Walrus. I was responding to the parameters from the playback material, the audiences, and primarily to the energy and movement of the dancers, all brilliant and completely ON! throughout. (Killick)
SCREEN CAPTURES: CU Theatre & Dance opens “Lacunae,” choreographed by MFA Dance candidates Kristen Holleyman, Gretchen LaBorwit and Kelley Ann Walsh.
Apologies for the bluntness, but man… Goshawk™ is something to behold.
I’ve been playing guitar for the better part of 30 years, over half of that for a living, and I can’t recall the last time — if EVER — I got goosebumps playing guitar. As it were, it happened while rolling off the tone knob (which also deserves its own comment: I’ve also never had a guitar where the ENTIRE range of the tone knob was not only useable, but sounded AMAZING).
There is some SERIOUS tonal mojo going on here.
The ergonomics are a very good fit for me. The neck size, and even more so the way the body fits me and seats the neck much more “in” my person, it just works. The ability to play in the lower register without feeling like I am stretching my arm out is just superb.
Again, wow… the whole chemistry of this instrument is ME. I’ll be taking it out on the road in the coming weeks for the road test part. And I’ve got a recording project underway I’ll be using it for in the meantime.
Thank you Rick. You’ve gotten me an instrument that makes me want to just sit and write. It’s rare I’m inspired to this degree with a new guitar. This one is special. (Matt Richard)
PHOTO: Compact curves that fit. Swamp ash solid body.
IMAGE: Patented Intonation Cantilever™ solo bridge. Securely anchors plain-end or ball-end strings.IMAGE: Ball-ends drop in effortlessly and anchor securely on the 8-string Element™ neck.IMAGE: Slender, sleek and lightweight. Ergonomic contours with smooth flowing thumb surfaces.IMAGE: Element™ 8-string multi-scale neck. Single billet precision machined aerospace aluminum.IMAGE: Fretboard Flare™ allows exceptional string bending capabilities where you need it most.IMAGE: Patented Intonation Cantilever™ solo bridge. Stainless steel, bearing bronze. Lightweight, precise, stable tuning. Zero intonation drift. Intonation adjusts independent of tuning.
