KWASNYCIA

Paralleling the career arch of many notable guitar builders, Dennis Kwasnycia began building in 1997 after years spent repairing guitars and learning what makes them tick (in fact, according to his website, he still balances the two roles of builder and repairman). As an individual builder, his output is understandably limited; and, accordingly, there are not many Kwasnycia guitars to be found on the market today. Along that line, this striking Bastogne Walnut and Tunnel 13 Redwood 000 cutaway, which was completed on November 30, 2010, is the first example of Dennis Kwasnycia’s craft that we have encountered. While we cannot speak to general qualities of his guitars without the benefit of a larger sample group to inform us, it is manifestly clear from the refined nature of this instrument’s build that it was crafted with care by a skilled builder.

In our correspondence with Dennis Kwasnycia, he explained that, as evidenced by the 1/13 inlay on its heelcap, this guitar was the first of a run of thirteen guitars that all featured tops made from the borderline mythical “Tunnel 13” Redwood. This very scarce reclaimed ancient wood was originally harvested in 1889 for the construction of a railway tunnel in Oregon's Siskiyou Mountains. At the time, the redwood used was estimated to be approximately 2000-2500 years old. Of course, there has been much discussion and examination of the appealing sonic qualities associated with ancient trees, particularly with respect to the tight growth ring density contributing enhanced sustain and projection. But, this particular old growth Redwood was further infused with legend on October 11, 1923, when Tunnel 13 became the site of what would become the last American train robbery—more accurately, this should be characterized as an attempted robbery, given that it was botched! When the tunnel collapsed in 2003, an unanticipated treasure trove of naturally seasoned old-growth redwood was revealed, and the guitar building and the greater woodworking community collectively rejoiced. Needless to say, to be able to claim such and desirable and exotic enhancement among its features is a real feather in this 000’s cap!

In addition to its lovely tonewood complement, we note a lot of the “Minnesota School” influence in the design (e.g., elements of Hoffman, Olson, Applegate, and Charis), particularly with respect to the 5-ply neck, headstock shape, and the bridge design. Yet, unlike many of the so-called Minnesota School builds, where one notes a distinctive emphasis on density and ultra clarity in the voicing, this Kwasnycia 000 is endowed with a more liberated and open voice. This is particularly evident in the bass and low end, where one encounters a pleasing depth that is juxtaposed against a very playful, crisp, and airy presence. As advertised, the additional stiffness of the Tunnel 13 Redwood contributes an impressive dynamic range as well as a generally quick, glassy, and effortless response, all while displaying cedar-esque qualities of tone, most notably a sweeter and more complex edge to the note. These savory sonic qualities of Redwood are, in turn, well-mated with the drier richness and percussive punch that is characteristic of walnut in general. Yet, in this case, the eye and the ear are indulged by the use of a stunningly figured set of Bastogne walnut. When packaged in a 000 body of the 12 th fret variety, these tonewoods and the Kwasnycia voicing translate to a generally open and voluptuous projection that allows notes to leap to life and sustain in an almost effortless manner. Thus, while its maker may be relatively obscure, this Kwasnycia 000 12-fret most certainly exhibits all of the sonic and structural hallmarks of a wonderful contemporary steel string guitar.

Condition

This Kwasnycia 000 was clearly loved and well-maintained, as there is no cosmetic wear or any structural issues to report. EXCEPTIONALLY FINE condition.

• 000 12-Fret Body
• Venetian Cutaway
• Tunnel 13 Redwood Top
• Scalloped X-Bracing with Paduak (?) Bridgeplate
• Figured Bastogne “Paradox” Walnut Back and Sides
• Flamed Koa Binding
• 5-Ply Wooden Top Purfling
• 3-Ply Wooden Back and Side Purfling
• 7-Ply Wooden Back Strip with Figured Koa Center
• Single-Ring 11-Ply Rosette with Rosewood Center
• High Gloss Body Finish
• 5-Piece Mahogany/Maple/Rosewood Neck
• Medium C-Shape Neck Contour
• Macassar Ebony Fingerboard
• Evo Fret Wire
• Indian Rosewood Fingerboard Binding
• Macassar Ebony Headstock Veneer
• Mother of Pearl Headstock Logo
• Rosewood Heelcap with Mother of Pearl “1/13” Inlay
• High Gloss Neck Finish
• Macassar Ebony Olson/Hoffman Style Bridge
• Bone Nut and Saddle
• Gold Gotoh Delta Series 510 Tuners with Indian Rosewood Buttons
• 25” Scale Length
• 1.75” Nut Width
• 2 1/4” String Spacing at the Bridge
• 4 5/8” Body Depth
• Gold Strap Button Added
• Martin 500 Series Hardshell Case