The Little Sister has a very versatile sonic palette. Her sensitivity and responsiveness to each different player's touch are responsible for her voice, as unique as every player is...
The Little Sister has a very versatile sonic palette. Her sensitivity and responsiveness to each different player's touch are responsible for her voice, as unique as every player is. The highly resonant chambered body of the Little Sister influences the string vibration, changing the harmonic content and balance sensibly. Therefore, changing the wood top changes the tone of the guitar, shifting it in different directions, depending on the selected timber.
The All mahogany version shares most of the common characteristics of the original Little Sister design: one-piece air-dried, chambered African mahogany body, one-piece Honduran mahogany neck, with a single bar, single action truss rod, pau ferro fingerboard, slotted headstock, and the proprietary B&G solid brass hardware. The key difference is the wood top, made in African mahogany.
Mahogany topped guitars deliver a very focused tone, with a vocal midrange quality and a rounded, sweetened top end. The fundamental tone is pronounced, while the harmonic spectrum is slightly in the background. The slightly dryer tone shines in translating the dynamics of the playing style. If played aggressively, the Little Sister All Mahogany is also capable of a raunchier "in your face" attitude.
The hand-wound, unpotted P90 pickups are just perfect for the Little Sister All Mahogany, with their balance between warmness and raw, throaty grit, and unmatched airy quality. The hum-canceling Kikbuckers deliver a very similar tone, slightly more solid and focused.
The naturally aged brass hardware – bridge, tailpiece, back cover, and pickups covers – contributes to creating a vintage-inspired vibe, further enhanced by the matte open-pore nitro finish.
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.
The Little Sister design is a reinterpretation of the pre-war acoustics. B&G's goal was to create a classic yet fresh and unique instrument, as easy and cozy to play as those almost mythical guitars. Hence the neck joint at the 14th fret, the slotted headstock, and the classic non-cutaway body shape.
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.
Single rod, one-way truss-rods are lighter and require a smaller channel in the neck. This building technique also requires neck woods that are perfectly aged and accurate installation of the truss-rod. Private Build B&G guitars only use this specific truss-rod design for improved tone transfer and sustain.
NON-CUTAWAY VS. CUTAWAY
The Little Sister Non-Cutaway has a thicker body (2") to project a warmer, more acoustic tone. The cutaway version is thinner (1 3/4") and has a slightly more direct and focused, somehow more elctric tone.
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.
Private Build pickups are developed and hand-wound in-house, to ensure that specific nuance of vintage tone. P90s, Kikbuckers or humbuckers either potted or unpotted based on AlNiCo magnets and 42AWG lacquered enamel copper wire are voiced to perfection. Even the brass cover is included in the tone equation and, together with all the other aspects, allows for the unparalleled airy warm and organic tone of a B&G guitar.
Brass is a beautiful metal for guitar hardware. It offers a great tranferring function of the entire frequency spectrum without sounding too metallic. This is the reason why B&G manufactures the bridge by milling a solid block of brass, yet another B&G exclusive feature.
The B&G solid brass tailpiece is built to resonate, delivering a world of overtones just like a natural reverb. A piece of jewelry conceived to look just as good as it sounds.
RULE OF 18
The vintage-sized frets are precisely installed on the fingerboard using the historic "rule of 18" (24-3/4 scale) to ensure the comfortable playability that only a vintage instrument is able to deliver.
Mahogany topped guitars have a very distinct personality. B&G's air-dried, naturally aged mahogany is quite stiff, highly resonant and delivers a midrange-focused response with the fundamental tones being predominant over the harmonics. The resulting tone is dry and dynamic, very responsive to the touch, excellent for fingerstyle, but also capable of a certain degree of bark and aggression when played vigorously.
OPEN PORE FINISH
The nitrocellulose open pore is the lightest and thinnest finish possible, effectively becoming one with the molecular wood structure. It protects the instrument while not impacting at all its ability to vibrate. It offers a natural, silky-smooth appearance with the wood grain beautifully exposed.
The uncoated brass hardware naturally develops a light oxidation patina that fits the smooth satin finish of the body perfectly, contributing to the warm, familiar, vintage vibe of the Little Sister All Mahogany.
Each B&G Private Build instrument needs time from start to finish. The guitar will need weeks to evolve from beginning the assembly of different wooden pieces to becoming a unique, vibrant, resonant entity. B&G instruments are built to last more than a lifetime; the 3 to 4 months needed to complete each one are definitely well worth the wait.
- Construction: chambered
- Body thickness, cutaway: 1.75" / 4.45cm
- Body thickness, non-cutaway: 1.96" / 5cm
- Body length: 17.7" / 45cm
- Body width: 13" / 33cm
- Back wood: one-piece African mahogany
- Top wood: African mahogany
- Nut: TUSQ
- Scale length: 24 3/4"
- Fingerboard radius: 12"
- Neck joint: @ fret 14
- Neck wood: Honduran mahogany
- Fingerboard: pau ferro
- Fretwire: nickel-silver, width 0.080", crown 0.050"
- Inlay: pearloid
- Truss rod: traditional one-way, spoke wheel nut
- Headstock: slotted peghead
- Tailpiece: solid brass B&G, slightly aged
- Bridge: B&G solid brass ABR, slightly aged
- Tuning machines: B&G Delta
- Strings: Ernie Ball 0.10-0.46
- Potentiometers: CTS 500k
- Toggle switch: Switchcraft 3-way
- Jack: Switchcraft
- Wiring: 50s style
- Total, cutaway: 6.6 - 7.7 lbs / 3000-3500 gr
- Total, non-cutaway: 7.5 - 8.6 lbs / 3400-3900 gr
- Total: 37.52" / 953mm
- Type: nitocellulose open-pore
- Orientation: left-handed, right-handed
- Shape: cutaway, non-cutaway
- Nut width: standard 1.68", wide 1.75"
- Neck thickness @ fret 1: standard 0.89", slim 0.86"
- Neck thickness @ fret 10: standard 0.96", slim 0.91"
- Neck shape: B&G soft V, custom
- Pickups: B&G hand-wound P90s, B&G hand-wound Kikbuckers
- Wax potting: unpotted, potted
- Control layout: switch-volume-tone (default), volume-volume-tone (by request)