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Poling Guitars
Brock Poling trained with legendary luthiers Frank Finocchio, and Ervin Somogyi. He acknowledges their influence and that of other master luthiers but has a unique style of his own. He is fanatical about attention to detail. He says ‘The inside of the truss rod cavity gets the same attention to detail as the bridge, the bindings, the frets, and everything else. Each guitar I build is a tangible symbol of my integrity, my craftsmanship, and my passion. I put everything I have into each instrument I build and it doesn’t leave my shop unless it is perfect. My goal is to build an instrument that sounds great, plays like it was made for your hands, and is impressive to look at.’ Brock treats each top differently, tops and bracing are lighter than used by most luthiers, all braces are Adirondack Red Spruce. ‘Since every piece of wood is different, I spend a considerable amount of time searching for the stiffest most responsive tops – ensuring each is perfectly quartersawn with little to no grain run out. I then thickness the top to a target deflection — not a standardized thickness. This helps ensure every top is as responsive as possible without being over or under built. Additionally, working to a target stiffness helps generate a consistency in the overall sound of my guitars. I slightly adjust the brace positions such as: opening or closing the angle of the x-brace, adjusting the position of the tone bars, or changing the location of the finger braces — this makes a significant difference in the responsiveness and "voice" of each guitar. Brock builds the sides and rim assemblies to be as stiff as possible. This helps to reduce the energy absorbed into the sides and helps to contribute to a richer overall sound. Necks are a 5-ply lamination of the finest Honduran Mahogany or Maple. Headstock backs are veneered for both aesthetic beauty and additional strength in the headstock. Truss rods are double action with two carbon fiber rods for additional stability. Fingerboards have a compound radius. Bridges use a domed profile to provide a light, stiff footprint for maximum energy transfer. and a 1/4" saddle to allow the strings to make greater surface area contact, thus helping with the flow of energy. The saddles are angled back 5 degrees to capitalize on the forward pull of the strings to maximize contact between the bottom of the saddle and the bridge. Due in 2009 * Sierra; black and white Ebony/AAAA Lutz spruce. * Sedona; gem quality sapele/AAAA Lutz spruce, Venetian cutaway, snakewood buttons. |
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Poling Sierra walnut/cedar SOLD
A wonderful fingerstyle instrument from Ohio luthier Brock Poling. Light, warm and responsive with a beautifully carved neck that fades from a matt finish to a gloss when it meets the headstock.
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* Highly figured black walnut back and sides
* AAAA western red cedar top
* 25 ½” scale
* 1 3/4” nut
* 2 5/16” string spacing at saddle
* 15” lower bout
* Soundhole bound with rosewood
* Rosewood/red abalone rosette
* Rosewood bindings
* Rosewood end graft
* Maple purfling
* Bone bridge pins
* Bone saddle
* Bone nut
* Neck; mahogany/rosewood veneer/mahogany w dual carbon fibre rods
* MoP headstock inlay
* Rosewood backstrip
* Fingerboard Madagascar rosewood, bound in matching rosewood
* Fingerboard radius 14"
* No fingerboard markers
* No pickguard
* Waverly tuners
* Custom Ameritage climate controlled case
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