Hi All!
I've been lurking about here for a couple of years now reading, absorbing and realizing just how much I don't know about this thing called lutherie. A year and a half ago I had the opportunity to take my learning to a new height and became a student of Tony Karol's of Karol Guitars in Mississauga, Ontario. Just this past week I finished my first build under Tony's insightful mentoring. What an amazing experience this has been for me. And what a wealth of knowledge Tony unselfishly shares with his students. My sessions in Tony's shop were the highlight of my week for the past year and a half and I have to admit now that it has come to an end I fear I run the risk of some serious withdrawl and postpartum depression.
Tony - thanks so much for the knowledge you imparted, your sense of humour and the promise of future builds your teaching has provided. The course was a 50th birthday present from my wonderful wife and was the realization of a journey I attempted to start as a teenager 35 years ago (a failed attempt at building a guitar in high school brought to a screeching halt by a beagle who thought the neck looked like a bone too large to pass up on! 
).So, while it isn't my first solo build, it is my first build and I am thrilled with her!
A few spec before the pics:
Shape: Tony's Signature model (a modified OM) with a Florentine cutaway, soundport and Laskin Armrest
Back and Sides: Madagascar Rosewood (from Uncle Bob - thanks - it's so sweet!)
Top: Lutz (from Tony's stock which I believe came from Shane Neifer of High Mountain Tonewood Company - a spectacular sounding top - and looks great under a finish!)
Neck: Mahogany laminated with Toasted Curly Maple centre strip and black veneer
Fretboard: Madagascar Rosewood with Ebony/Maple binding
Headplate and Backstrap: Brazilian Rosewood
Bridge: Brazilian Rosewood
Binding: Ebony with b/g/b purfling
Rosette: Brazilian Rosewood with paua abalone shell and b/g/b purfling combinations
510 Gohto tuners
Headstock inlay: my modification of an existing celtic dragon design crafted by Andy Depaule's artisans
She sounds great with a loud rich voice. The bottom end is deep and full and she has great sustain. I cannot get over how wonderful the harmonics ring.
The one area where I didn't do such a good job was with the 12th fret marker. This one I did completely on my own and I was happy with the shell work (considering it was my first try at inlay) but I was as tight on the cavity routing as I would have liked. As Tony pointed out to me, it wouldn't have been an issue had I chosen to go with an ebony fretboard. But none-the less, the challenge was a great learning experience - how can one learn if they never make mistakes.
Enough rambling ... some show and tell:
![[clap]](./images/smilies/smiley32.gif "adulations")
![[:Y:]](./images/smilies/smiley20.gif "Thumbs Up")
And great selection for a teacher as well.
