"This cool "variation on a theme" that Andy Elliott and I put our heads together on has now become my ultimate all-in-one, cover-all-bases guitar. The body design is one of the most ergonomic ever..." - Peter Stroud
"This cool "variation on a theme" that Andy Elliott and I put our heads together on has now become my ultimate all-in-one, cover-all-bases guitar. The body design is one of the most ergonomic ever. From sparkling clean, smooth rhythms to exploding raunch at your fingertips, it is the most alive sounding and versatile guitar that I've ever played. I'll usually just dial my amp to full-out lead level, then control all of my sounds simply from the volume knob on the guitar. Contributing factors are the strings thru body over barrel bridge saddles, Lindy Fralin's P-90 inspired design/wind pickups and Andy's highest quality craftsmanship. Top it off with the amazing colors and finishwork by award winning custom cycle painter Shannon Davidson, we've ended up with an absolute beast! Andy's guitars are the most consistent in quality, liveliness and sustain that I've personally ever witnessed. I am incredibly proud of our collaboration and expressly grateful to Andy for my signature model Elliott Tonemaster!" - Peter Stroud
The wood is selected first and has to meet certain size and grain characteristics to assure all bodies are glued in the same manner; with an offset glue joint at the bottom bout of the guitar. This maintains consistency from one guitar to the next. The upper bout is contoured for a very comfortable feel. The species of wood used for this guitar is alder.
The neck is a lap sawn, maple neck with an Indian rosewood fingerboard; traditional clay marking dots, and custom side dots. The neck has a nitro finish.
The fretting process is done through epoxy fretting. This process is used for multiple reasons. One of the advantages to this type of fretting is that you lose the hollow gaps under the fret that you find with the traditional way of fretting. In traditional fretting, with each fret you put on, it is like driving a wedge into the fingerboard, which causes back tension on the neck. With epoxy fretting, all of these issues are eliminated. The epoxy under the frets helps to transfer string vibration throughout the neck to the body, and relieves all stress and tension on the neck that occurs with traditional fretting. This results in a stress-free neck, which allows the truss rod to work properly and to adjust the neck accurately.
The pickups are custom wound to Peter's specifications. They are very similar to Gibson's P-90's from the mid to late 1950's, with alnico magnets. These pickups are wound on a Jazzmaster bobbin, which creates a really neat sound. The wiring of the pickups is different from that of a Jazzmaster. There is a 500k volume pot, a 300k tone pot, and a vitamin Q capacitor. This allows more tone dimension than a typical Jazzmaster.
Half-hard brass bridge plate with 3 compensated brass barrel saddles.
- Alder body
- Maple neck
- Indian rosewood fingerboard
- Elliott Peter Stroud pickups
- Matching headstock
- Pale Surf Green
- SKB hardshell case