William Eaton has designed and built many multi-stringed instruments throughout the years that are considered to be works of art and have been featured in books, magazines, museums and art exhibits. While his previous creations are one-of-a-kind, this is the first time he has produced similar instruments with a group vision in mind. It is also the first time he has formed a team to help with the construction. Luthiers Robert Mazzullo, Kris Olsen, and Bart Applewhite, who are staff members of the Roberto-Venn School of Luthiery in Phoenix, worked with Eaton to complete three of the first ÔquartetÕ of instruments. The fourth instrument is scheduled to be finished in September. While the design of each electric harp guitar is the same the use of different, rare hardwoods gives each instrument a distinct character. Vermillion (rust orange), Brazilian satinwood (yellow), purple heart (purple), flamed maple (blonde) and ebony give each instrument a brilliant natural color. The 18-string electric harp guitar has an extended guitar scale neck that is approximately two inches longer than a regular electric guitar. This longer scale gives the instrument a lower range and deeper tone values. A sinewy curve arches from the headstock to the end of the fret board and flows through the sculpted body to create harp bows by which to attach two extra sets of strings. Six strings are attached to the longer harp bow, and provide open plucked frequencies in the mid and bass ranges. Six strings are also attached to the lower body of the instrument; with their shorter string length resulting in higher pitched notes similar to the small Autoharp of the zither family. The instrument utilizes electro-magnetic and piezo pickups that allows the guitar and harp strings to be amplified.

LINKS:
www.roberto-venn.com
www.anthonymazzella.com