The Big Sister concept was born with the release of the Little Sister guitar. B&G wanted to apply the same long-lost traditional materials & techniques, which haven't been in use since the early 1960s...
The Big Sister concept was born with the release of the Little Sister guitar. B&G wanted to apply the same long-lost traditional materials & techniques, which haven't been in use since the early 1960s, along with the unique chambered body design and '50s nitro finish to a bass guitar.
The guitar is made out of super-light pieces of aged mahogany, with a one-piece body and a one-piece neck. B&G chose a set-neck construction, a feature that is harder to build, but allows sound to travel back and forth without losing energy.
They also use traditional glues (hide glue, fish glue, urea-formaldehyde) to minimize the loss of sound frequencies.
The Big Sister is designed to offer supreme playability, rich sound and versatility. Together with its unique looks and light weight, B&G wanted the Big Sister to stand out and become a desirable instrument, a beautiful working tool that can fit in the toolbox of any musical genre. On stage, at home, or in the studio, the Big Sister was built to leave a mark.
GOLDEN ERA LUTHERIE
B&G Private Build guitars are hand-built using the traditional techniques of the "golden era" of electric lutherie, delivering a vintage feel, look and sound right out of the case.
You get to pick your preferred maple top, the finish that best fits that individual top, and every other aspect of the guitar. Since the number of custom options can be overwhelming, Destroy All Guitars will gladly support you in choosing the right build specifications.
CHAMBERED LIGHTWEIGHT BODY
The carved, chambered body, in African mahogany, delivers unique acoustic features. It reaches a delicate balance between body resonance and resistance to feedback that delivers an organic, vocal quality to the sound, and an almost tactile, responsive playing feel. The guitar is by consequence feather-light, without any compromise on her stability and strength.
Glue is one of the critical elements in the building of a guitar. Traditional hide glue for the neck joint, fish glue for the frets and urea formaldehyde for the top all crystalize like glass when dry and create a substantially thinner layer between the different parts. These glues allow for optimal string energy transfer -- significantly better than modern synthetic glues can achieve.
The vintage recipe for the best looking, thinnest and most resonant finish, is still the best one. Nothing compares to an adequately sprayed and buffed traditional nitrocellulose lacquer, the only finish that ages together with the wood, becoming thinner over time, merging into the wood molecules and allowing them to vibrate freely.
- Body thickness: 1.75" / 4.45cm
- Body length: 17.3" / 44cm
- Body width: 13.3" / 34cm
- Back wood: one-piece old growth African mahogany
- Top wood: book-matched maple
- Nut width: 1.62" / 41.3mm
- Fret 1 thickness: 0.87" / 22mm
- Fret 12 thickness: 0.95" / 24mm
- Scale length: 34"
- Neck joint: fret 15
- Neck wood: one-piece old growth Afican mahogany
- Fingerboard wood: ziricote
- Fingerboard radius: 12"
- Fretwire: StewMac 154
- Inlay: pearloid
- Neck shape: B&G soft V
- Bridge: solid brass B&G
- Tuners: Gotoh GB528
- Potentiometers: CTS500k / CTS250k
WEIGHT: total: 7-7.7 lbs / 3200-3500 gr
- Total: 44.88" / 1140mm
- Type: nitrocellulose