Allen St. John - Claptons Guitar: Watching Wayne Henderson Build the Perfect Instrument
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- Book:Claptons Guitar: Watching Wayne Henderson Build the Perfect Instrument
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THE MAD DOG 100
The Greatest Sports Arguments of All Time
(by Christopher Russo with Allen St. John)
A LLEN ST. JOHN is the co-author of The New York Times bestselling The Mad Dog 100: The Greatest Sports Arguments of All Time, with radio personality Christopher Mad Dog Russo, published in 2003. St. John is a columnist for The Wall Street Journal s Weekend section. He has written for a wide variety of national publications including The New York Times Magazine, Rolling Stone, The Village Voice, Playboy, Salon, Popular Mechanics, Mens Journal, and Maxim. His work as a reviewer appears frequently in The New York Times Book Review and The Washington Post Book World. He has won a variety of awards, including top honors from the North Jersey Press Club, the North American Ski Journalists Association, and the United States Tennis Writers Association. His story Fall Classics earned an honorable mention in The Best American Sports Writing 2002. He has written or contributed to a dozen book-length projects including the award-winning Skiing for Dummies (IDG) and the hardcover and CD-ROM of The Way Baseball Works (Simon & Schuster). He lives in Upper Montclair, New Jersey, with his wife and two children.
The story begins: Eric Clapton playing Tim Duffys Henderson OM-28, in 1994 (Courtesy of Mark Levinson/Tim Duffy).
The cubicles at the guitar shop where Wayne Henderson files his guitar orders.
Raw Brazilian rosewood before it has been cut into guitar-sized planks.
The Brazilian rosewood sides for Eric Claptons guitar.
Gluing a rosewood back using the Squeezer. The side bender (top center) and the hot plates on the workbench (right) are used for shaping guitar sides.
A Brazilian rosewood side after it has been bent, sitting atop the Christies catalogue for Eric Claptons Crossroads Guitar Auction.
Wayne Henderson tapping a bent side to assess its tone.
Finessing the thin pieces of decorative wood and plastic purfling for the rosette around the guitars soundhole.
The finished rosette on an Appalachian red spruce top.
Cutting the soundhole from the spruce top.
Rosewood guitar sides with the neck and tail blocks glued on.
Gluing the mahogany kerfing onto the rosewood sides, using binder clips as clamps.
Sanding guitar sides on the belt sander.
Branding the back stripe with a red-hot branding iron.
The brand found on every Henderson guitar.
Gluing the rosewood sides to the back.
Inspecting the nearly completed guitar body.
The bracing on the underside of a completed guitar top.
Scalloping an Appalachian spruce brace with a chisel.
The peak-and-valley profile of scalloped top braces allows the top to vibrate freely.
Shaping the maple bridge plate on the sander.
Gluing the bridge plate to the guitar top.
A small tone bar after final shaping with a carving knife and fine sandpaper.
Signing the underside of the top before its glued to the body.
The signature and date of guitar 327.
The serial number stamped on the mahogany neck block, inside the guitar.
Gluing the top on the completed guitar body.
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