Chris Larkin / Lúg (available As 6 & 12 String) / 2014 / Various / Guitar
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Lúg 12 and 6 string semi guitar
The Lúg (pronounced Loog) 12 string semi electric guitar was another idea of Juan Millan. He wanted the sound of "A Hard Day's Night" and room for your fingers too. Well I did it. The 630mm scale allows for low string tension whilst the 47mm nut width and wider fingerboard make playing easy. Very low actions are possible so fretting the 12 strings needs little effort. Wide spaced Chris Larkin alnico magnets pickups (made by Kent Armstrong) give a broad range of tones. The body is hollowed with chambers that are connected to the world by a single soundhole. Strings are fitted in the Rickenbacker fashion, bass string of each pair first. The ABM bridge has individual saddles which allows for perfect intonation. Physical balance is perfect for playing standing up or seated. What more could you want in a 12 string electric?
This is the protoype Lúg with a body of olive ash and a fixed neck of maple. The cherry sunburst was Juan's idea. Future models may have sycamore bodies. I also thought this design would also make a great six string guitar with standard fingerboard.
So here are two in different sunbursts. The one in the foreground has Schaller G50 pickups (very wide range) and a tunamatic bridge. Sounds old. The other one has Seymour Duncan pickups with more drive and midrange and a stoptail bridge. Sounds very contemporary.
And the name? Lúg is the Celtic god of light who spends his time battling with Dubh the god of darkness.
Prices are exclusive of applicable tax/duties/shipping/VAT
Chris Larkin Custom Guitars, Ireland 
About Chris Larkin
I work alone hand building a variety of instruments beside the beach on the beautiful west coast of Ireland. I am in my third decade of guitar making and it is still the best job in the world. And, so far, I get paid to do it. Nothing could be better!
Working alone gives me total control over the process. I do everything from buying in the wood to packing the instruments for shipping and nothing leaves the workshop that I cannot be proud of. Each day I look forward to going to work and learn something more about my craft. The more I learn the more I know I have to learn. And there is no Holy Grail in guitarmaking, there are too many variables in hand making an instrument to be sure of anything. The traditional 'rules' are there to be tested. At this stage, working with wood has become largely intuitive for me. And I am a wood junkie!
The wood junkie on the left is cuddling enough yellow cedar to make at least 40 flat top guitars when he cuts it up. This yellow cedar board is perfectly quartersawn with 80 grain lines per inch (31 per cm). Yellow cedar makes great archtops (jazzers and mandolins) and is also very good for steelstrings. In my opinion more people should try it.
The man on the right is taking instruction from Melody (the guitar building dog and real brains behind the business) on the best way to carve the top plate for an ASAS Semi. (yes Harvey, it is yours!)
I produce a limited number of master grade instruments each year almost all of which are exported (thanks to contacts made by exhibiting at the Frankfurt Musikmesse since 1985). Naturally I use the finest available materials. My designs are original, practical and, I think, beautiful. My instruments are individual for individuals.
My wife Syra is a professional painter (there she is on the left working on a portrait of Robbie Overson which was used for his album cover) and after years of makeshift workshops and studio space we finally designed and built our ideal workplace attached to our house in 1997. Syra has most of the upstairs with great natural light and wonderful views over the bays and mountains while I have the ground floor and an upstairs sprayroom. All of my areas are humidity controlled (47% RH) which gives me great confidence in dealing with the wood and the assurance that the possibilities of future climatic damage to instruments is limited to extreme conditions (which instruments should never be exposed to anyway!).
Ordering.
It is possible to order from a dealer or directly from me at the workshop. When a customer makes an order they will fill in a Conspec which is a document that specifies all aspects of the intended instrument. The Conspec is exchanged between me and the customer being changed by agreement until we are both happy with what is to be made. At this stage a firm price and delivery date is set. The Conspec now becomes the blueprint from which I will work when I am making the instrument. The Conspec can be changed at any time up until the start of building with agreement between the customer and me. As both the customer and builder have a copy of the Conspec there should be no surprises on delivery! Payment.
For orders from the workshop a non-returnable deposit of 30% is normally paid when the Conspec is agreed and the price is set. The balance is payable on completion of the instrument. A photograph of the finished instrument is sent to the customer (by mail or email) to show that the building is complete and shipping happens when the balance of the money reaches my bank.
For orders from dealers the payment details should be arranged with the dealer concerned.
Shipping.
Shipping costs are the responsibility of the customer. For orders from the workshop I can arrange shipping by insured courier at cost if required.
Taxes.
Someone once said that the only two things you can be sure about in life are taxes and death! I can tell you a bit about the taxes.
Orders from the workshop that are to countries within the European Union to persons who are not registered for VAT will have Irish VAT included in the price at the rate that is current at the time of payment. Orders outside the European Union will be free of Irish taxes but note that most governments charge some sort of tax on imported instruments. Check what this will be locally. Orders from dealers will include whatever taxes are relevant in that country.Your dealer can tell you about this.
