Cedar of Lebanon has been known since the dawn of history as a strong and luxurious tree. It is mentioned in various ancient texts including several mentions in the Bible. King Solomon used cedar timber to build the temple in Jerusalem. The Hebrew prophet Isaiah used the Lebanon cedar as a metaphor for the pride of the world, and as a symbol of the righteous.
Old-growth cedar of Lebanon, once bonded with the original chambered mahogany body of the Little Sister, delivers a unique blend of sweetness, warmth, and delicacy; the Little Sister with the most acoustic-like tonal quality.
All the core elements of the guitar stay true to the original design. The African mahogany for the one-piece body, Honduran mahogany for the one-piece neck, pau ferro for the fingerboard. The cedar of Lebanon top adds a rich character, with a clearly detailed fundamental, further defined by a waterfall of harmonics radiating from the guitar. The Little Sister COL tone is somehow reminiscent of the typical sweetness of a classical guitar, with its clean and uncompressed attack, and unparalleled touch sensitivity. It is definitively the most delicate sounding Little Sister, with a lush, blossoming development of each note.
The Little Sister COL offers a unique control layout with two volume controls and a master tone control. This arrangement allows for infinite shades of blending between the two pickups, for the player to find his own voice, as well as to solo each pickup. The vintage '50s wiring preserves the clarity of the tone. B&G likes this control layout so much they now offer it as an option on all the Little Sisters.
The LS COL looks as unique as it sounds. She is treated with a natural aniline dye, and finished with hand-rubbed shellac coating, for the thinnest, lightest and most resonant paint job possible. Also, the brass hardware is unlacquered and pre-oxidized, for a unique, tasteful patina and an unmistakable vintage feel.
GOLDEN ERA LUTHERIE
B&G Private Build guitars are hand-built using the traditional techniques of the "golden era" of electric lutherie, delivering a vintage feel, look and sound right out of the case.
The Little Sister design is a reinterpretation of the pre-war acoustics. B&G's goal was to create a classic yet fresh and unique instrument, as easy and cozy to play as those almost mythical guitars. Hence the neck joint at the 14th fret, the slotted headstock, and the classic non-cutaway body shape.
CHAMBERED LIGHTWEIGHT BODY
The carved, chambered body, in African mahogany, delivers unique acoustic features. It reaches a delicate balance between body resonance and resistance to feedback that delivers an organic, vocal quality to the sound, and an almost tactile, responsive playing feel. The guitar is by consequence feather-light, without any compromise on her stability and strength.
Glue is one of the critical elements in the building of a guitar. Traditional hide glue for the neck joint, fish glue for the frets and urea formaldehyde for the top all crystalize like glass when dry and create a substantially thinner layer between the different parts. These glues allow for optimal string energy transfer -- significantly better than modern synthetic glues can achieve.
Single rod, one-way truss-rods are lighter and require a smaller channel in the neck. This building technique also requires neck woods that are perfectly aged and accurate installation of the truss-rod. Private Build B&G guitars only use this specific truss-rod design for improved tone transfer and sustain.
NON-CUTAWAY VS. CUTAWAY
The Little Sister Non-Cutaway has a thicker body (2") to project a warmer, more acoustic tone. The cutaway version is thinner (1 3/4") and has a slightly more direct and focused, somehow more elctric tone.
The vintage recipe for the best looking, thinnest and most resonant finish, is still the best one. Nothing compares to an adequately sprayed and buffed traditional nitrocellulose lacquer, the only finish that ages together with the wood, becoming thinner over time, merging into the wood molecules and allowing them to vibrate freely.
Private Build pickups are developed and hand-wound in-house, to ensure that specific nuance of vintage tone. P90s, Kikbuckers or humbuckers either potted or unpotted based on AlNiCo magnets and 42AWG lacquered enamel copper wire are voiced to perfection. Even the brass cover is included in the tone equation and, together with all the other aspects, allows for the unparalleled airy warm and organic tone of a B&G guitar.
Brass is a beautiful metal for guitar hardware. It offers a great tranferring function of the entire frequency spectrum without sounding too metallic. This is the reason why B&G manufactures the bridge by milling a solid block of brass, yet another B&G exclusive feature.
The B&G solid brass tailpiece is built to resonate, delivering a world of overtones just like a natural reverb. A piece of jewelry conceived to look just as good as it sounds.
RULE OF 18
The vintage-sized frets are precisely installed on the fingerboard using the historic "rule of 18" (24-3/4 scale) to ensure the comfortable playability that only a vintage instrument is able to deliver.
Cedar has been for centuries the primary choice of luthiers when building a classical guitar. Softer and less dense than spruce or maple, it delivers a slightly warmer and sweeter tone with an impressive, blooming radiation of harmonics. One of the most appreciated top woods for those playing styles where dynamics, nuance, detail and touch responsiveness make the real difference.
ANTIQUE ANILINE DYE & SHELLAC
To allow the maximum tonal transparency the most acoustic sounding of the Little Sisters is offered only in antique aniline dye finish, enriched by a hand-layered traditional shellac coating. The Little Sister Cedar of Lebanon fascinates with her warm, natural, vintage-inspired hue.
For enhancing the vintage feel and look of the Little Sister COL, the bridge, tailpiece, logo, jack plate and back cover plate are oxidized to allow a natural patina to form on the brass, delivering a well-worn in, aged appearance.
Each B&G Private Build instrument needs time from start to finish. The guitar will need weeks to evolve from beginning the assembly of different wooden pieces to becoming a unique, vibrant, resonant entity. B&G instruments are built to last more than a lifetime; the 3 to 4 months needed to complete each one are definitely well worth the wait.
- Construction: chambered
- Body thickness, cutaway: 1.75" / 4.45cm
- Body thickness, non-cutaway: 1.96" / 5cm
- Body length: 17.7" / 45cm
- Body width: 13" / 33cm
- Back wood: one-piece African mahogany
- Top wood: cedar of Lebanon
- Nut: TUSQ
- Scale length: 24 3/4"
- Fingerboard radius: 12"
- Neck joint: @ fret 14
- Neck wood: Honduran mahogany
- Fingerboard: pau ferro
- Fretwire: nickel-silver, width 0.080", crown 0.050"
- Inlay: pearloid
- Truss rod: traditional one-way, spoke wheel nut
- Headstock: slotted peghead
- Tailpiece: solid brass B&G, oxidized
- Bridge: B&G solid brass ABR, oxidized
- Pickguard: brass
- Tuning machines: B&G Delta
- Strings: Ernie Ball 0.10-0.46
- Potentiometers: 3x CTS 500k
- Jack: Switchcraft
- Wiring: 50s style volume/volume/tone
- Total, cutaway: 6.6 - 7.7 lbs / 3000-3500 gr
- Total, non-cutaway: 7.5 - 8.6 lbs / 3400-3900 gr
- Total: 37.52" / 953mm
- Type: antique aniline dye, shallac coating
- Orientation: left-handed, right-handed
- Shape: cutaway, non-cutaway
- Nut width: standard 1.68", wide 1.75"
- Neck thickness @ fret 1: standard 0.89", slim 0.86"
- Neck thickness @ fret 10: standard 0.96", slim 0.91"
- Neck shape: B&G soft V, custom
- Pickups: B&G hand-wound P90s, B&G hand-wound Kikbuckers
- Wax potting: unpotted, potted
- Control layout: switch-volume-tone (default), volume-volume-tone (by request)