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Marc Bergeron’s Lefty Bass

Click through the images below to read about the making of Marc Bergeron’s custom left-handed Wyn bass.

I wanted desperately to finish this lefty bass for the NAMM show, but a number of last minute things came up and I just couldn’t make it. I decided to take it to the show any way if for no other reason than to tell the left handed players out there that I knew they existed. Even though the lefty’s couldn’t play it, I did get some amount of appreciation for getting this far. It also interested Marc Bergeron enough that he decided to buy it and trust that I would finish it off in grand style.

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I’m putting this one in the ‘News’ section to also show how amazing some of the quilted Maple is that I have. It’s just stunning stuff and sounds incredible as well. On the neck on this one, I put Wenge as the double center tapered core, three Padouk stripes and two Bubinga stripes to the outside. Bubinga and Wenge are a terrific sound match as they compliment each other well, but it’s also a nice visual tone gradation to go from the black brown Wenge to the very light Maple.

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I try to make the head stock cap out of the same wood as the body top. Not only the same kind of wood, but from the same board. This kind of amazing quilt is not going to repeat in exactly the same way from another tree.

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Mark wanted a photograph of the copper foiled electronic cavity before the electronics went in.

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Here it is, all wired. I always make the electronic cavity cover in a matching hardwood, usually Wenge. The bottom side of this cover is usually signed and dated and if there is a serial number, that’s where I put it.

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It only took a week or two past the NAMM show for me to finish up this bass. It was my third left handed bass, but the first one that I had made that was truly a legitimate lefty. The other two, Jimmy Haslip’s was one of them, were right handed string order flipped upside down. This dawned on me as I went to test drive the bass. I couldn’t play it too well with a reverse string order. I did have an amazing moment though in that in playing it upside down right handed with the high strings on the top and low strings on the bottom, I played some unique little runs that I probably never would have come up with melodically on a regular bass. I’m pretty sure that was the Jimi Hendrix trick don’t ya think?? Okay, possibly there was a bit more to Jimi’s playing than that……………

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You just can’t compete with Mother Nature for amazingly beautiful design!!

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Published by Randy, on April 16th, 2010 at 7:41 pm. Filed under: News,Photo GalleryComments Off on Marc Bergeron’s Lefty Bass

Fun at the 2010 NAMM Show

Here’s a Photo Gallery of our whirlwind weekend at NAMM 2010!

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Published by Randy, on February 22nd, 2010 at 4:57 am. Filed under: News,Photo GalleryComments Off on Fun at the 2010 NAMM Show

Wyn Guitars at NAMM, Part 3

Video from NAMM of me being Interviewed by Bass Gear Magazine

Published by Randy, on February 18th, 2010 at 9:24 pm. Filed under: NewsComments Off on Wyn Guitars at NAMM, Part 3

Wyn Guitars at NAMM, Part 2

Here’s another NAMM interview with me and James Lomenzo by Owen of

Wyn Guitars: Megadeth Bassist James Lomenzo Interview From NAMM 2010 (Video)

Published by Randy, on February 18th, 2010 at 9:20 pm. Filed under: NewsComments Off on Wyn Guitars at NAMM, Part 2

Wyn Guitars at NAMM, Part 1

Published by Randy, on February 18th, 2010 at 7:16 am. Filed under: NewsComments Off on Wyn Guitars at NAMM, Part 1

Guitars in Progress, Film at 11

I’ve been building four, five, and six-string taper core necks for the last seven or eight weeks and thought it was time to share some of the steps I’ve been going through. By the end of this entry, you’ll hopefully know what in the heck a taper core neck is and why I think it’s one of the truest and best ways to build a bass guitar neck.

The first photo shows some Wenge lumber in the rough. These boards are 1 1/2″ thick and 48″ long. Wenge to me is a magic wood that produces a throaty and yet focused lower mid and a really dynamic low while still maintaining a clear defined upper range. All I know is that I’m never sorry when I’ve used Wenge on any part of a guitar I’ve built! As you can see, it doesn’t look too promising in the rough. When the driver delivered the boards, he asked me if i was building a fence. Yikes, I’m afraid the fence would be worth more than my house!!

Wenge lumber in the rough

Building a neck with tapered boards is a good deal harder than working with parallel boards. Any time you throw your boards out of square, you’re in for some fun! So why am I bothering to do this? Well actually that’s a pretty good question. (I knew you’d be asking, so to avoid embarrassment, I have come up with some answers.)

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Published by Randy, on September 6th, 2009 at 3:06 am. Filed under: NewsComments Off on Guitars in Progress, Film at 11

The Making of “Gabriela Rose”, Jimmy Haslip’s Six String Wyn Guitar

Jimmy HaslipIt’s a luthier’s dream to make an instrument for an artist with the stature and playing chops of Jimmy Haslip. I of course handled this assignment with complete calm and professionalism. It was basically five parts intense euphoria and eleven parts terror ride. ( a player like Jimmy I figured would have no interest at all in an average bass. It would have to be nothing short of a better bass than I was capable of building!!)

It would be great to tell a story of how Jimmy Haslip sought me out – “Randy Fullmer at Wyn Guitars, famous luthier to the stars.” The pleading he must have gone through to get me to focus on his musical needs. All of the “I’ll pay you anything if you’ll just design something for me” moments. I’m pretty sure you’ve already guessed that the story goes nothing like that. However, I must say it was one of those life changing collaborations that only comes along once in a while.

The story
In late 2008, I had finished a prototype for a Quilt Maple and Wenge five string bass that I was pretty excited about. I started emailing pictures to friends and players I thought would be interested. This including Therese Ulvan, an up and coming female singer I had met while taking an educational course. A year or two prior, she had done an album with Jimmy Haslip. She got right back to me and said that she bet Jimmy would like to see it. She kindly introduced the two of us through email and I sent him pictures. Six weeks went by and no word from Jimmy. That lovely negative voice we all seem to have in our heads was concluding that my bass was nothing and he was just not interested.

But the sky soon parted!! Jimmy called out of the blue and said he was doing some recording in my area and would be driving right by my shop on the way. How about he stops by and tries out that prototype bass? “You bet!!” I said.

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Published by Randy, on July 1st, 2009 at 4:44 am. Filed under: NewsComments Off on The Making of “Gabriela Rose”, Jimmy Haslip’s Six String Wyn Guitar