BOGDANOVICH

We first encountered Jack Bogdanovich in the very early 2000s, around the time that he relocated to Swannanoa, NC.  From the outset, it was clear that Jack is not only an extraordinary craftsman who exuded great creativity and meticulous old-world skill, but he is simply a wonderful, intelligent, and charming human being!  He is also a highly trained player, which, of course, gives him great insight into what a great guitar should be (surprisingly, a high degree of skill as a player is not common for many builders!).  Needless to say, we were delighted to offer his guitars at the time, and we are thrilled to revisit this 2004 example.

Bogdanovich’s formative training in woodworking began with an apprenticeship alongside old-world European cabinetmakers in New York—interestingly, this is a common thread with many notable guitar builders (including, ahem, C.F. Martin). Later he trained under the widely respected woodworker, James Krenov, at the Redwood Fine Woodworking program, where he caught the bug for lutherie. Afterwards, he studied with extensively with Charles Fox; and, then took classes with several other notable luthiers, such as John Gilbert and Jeffrey Elliot.  With such a wealth of knowledge and training, it is perhaps no surprise that Jack eventually published Classical Guitar Making, which would become a modern touchstone reference book for luthiers, right up there with Irving Sloane’s Classic Guitar Construction.  (Incidentally, Jack’s book and a seminar held in our store inspired another now well-respected and originally Atlanta-based luthier, Chris Barnett).

Much like the builder himself, Jack’s guitars are very impressive indeed.  They boast a tasteful modern aesthetic with features like rear headstock veneers (a.k.a. “backstraps”) and burled or spalted wood center pieces in what are otherwise beautifully detailed wheat motif rosette. For those unfamiliar, the making of such an intricate thing as the rosette is quite time consuming.  With that in mind, we will share a brief related anecdote: Claire Petsch (one of our owners) once casually and innocently queried Jack as to whether he ever considered using a prefabricated rosette to save time and expense (as many builders do this).  His was response was tantamount to a record coming to a screeching stop on a turntable. He replied with no small degree of shock and dismay, “but that’s my favorite part!!!” 

When viewing a Bogdanovich guitar, it is naturally tempting to celebrate the sexy, understated, and precisely-executed contemporary visual elements on display.  Yet, from the standpoint of craft, the real artistry is arguably all that which exists under the hood that, in turn, fuels the engine of a concert-level guitar.  A quick study of the interior of this guitar reveals not only ingenuity but highly-refined woodworking.  From the graceful channeled transverse brace, the solid mahogany lining, and the execution of the cuts, everything is simply elegant to behold. One also notes design elements that are carefully-considered tone-shaping controls, like the addition of small finger braces here and there, and, more significantly, sides that are laminated with Cypress to tame woof tones (as commonly seen in J. Ramirez guitars). Much like a performance of music that demonstrates diligent study, the construction of this guitar is a distillate of hard-won craftsmanship infused with a player’s insight into what demands a great guitar must satisfy.

Accordingly, this 2004 Bogdanovich is a delight to play!  Featuring a classic pairing of European spruce and Indian rosewood and a slightly longer 656 mm scale, this instrument has a voice that is powerful, forward, dynamic, and lush.  One is immediately struck by the presence of the guitar’s prominent low end, particularly its chest-thumping 6^th string.  Yet, this bass presence doesn’t overwhelm the rest of the range; rather, it presents as an effortless and exhilarating foundation to every chord, adding beautiful weight to the ensemble.  In sum, the meticulous construction of this Bogdanovich in addition to the power and lyricism of its vocal attributes equates to an instrument that is competitive at the highest levels.

Condition

While this Bogdanovich has clearly seen some use, it was also manifestly lovingly maintained.  Apart from a handful of light scratches and shallow dents on the top and some light wear on the butt, the guitar is very clean—the most noticeable dent measures approximately 5mm x 2 mm and is located a few inches above the bridge on the bass side of the top.  While not related to wear and tear, the lacquer finish does have some natural pitting (a.k.a. “orange peel”) resultant from lacquer settling over time. Otherwise, there is no structural wear to report.  Current action numbers are as follows: Action at the 12^th fret = 4mm (bass) and 3mm (treble), with 2 mm saddle exposure.  EXCELLENT condition

• Classical Body
• European Spruce Top
• Spruce 7-Fan Top Bracing with 2-Tonebars
• Channeled Transverse Brace
• Spruce Bridgeplate
• Mahogany Top and Back Lining
• Mahogany Back Bracing
• Indian Rosewood Back
• Laminated Indian Rosewood Sides with Cypress Inner Layer
• Rosewood Body Binding
• 5-Ply Top Purfling
• 4-Ply Back and Side Purfling
• 9-Ply Backstrip and Endpiece
• Rosewood Heelcap
• Burled Maple and Wheat Motif Rosette
• High Gloss Body Finish (French Polished Top, Lacquer Body)
• Spanish Cedar Neck
• Ebony Fingerboard
• 19 Frets with 20^thFret Extension
• Rosewood Headstock Veneer and Backstrap
• Gloss Neck Finish
• Indian Rosewood Bridge
• Engraved Sloan Tuners with Shell Buttons
• Bone Nut and Saddle
• 656 mm Scale
• 53 mm Nut Width
• 8.6 mm String Spacing (4mm Offset)
• Original Cedar Creek Arched Top Case (Black Exterior/Crushed Padded Red Interior)