JSimpson Guitars – Thin Dred American Sycamore

Thin-Dred Front
Thin-Dred Back



Thin-Dred, American Sycamore, Alaskan Yellow cedar top, black walnut bindings. High-figure black walnut was used for the armrest bevel, rosette, headplate, the bridge and fingerboard are African ebony. Bound top sound port, vintage bone nut and saddle, gold Grover 14:1 machines, Fishman Acoustic Matrix electronics. Also features a flying buttress (carbon fiber) reinforced neck block, which spreads some of the mechanical stress outward to the waist of the body.  Target EM6000 water-based lacquer finish.   $2600, includes Silver series Ameritage case.

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Product Description


The JSimpson Guitars Profile

I’ll never forget when I was first bitten by the guitar bug, somewhere around the age of eight or nine. I remember my dad bringing home a $15 pawnshop treasure, a mint condition Sears Silvertone guitar with the amp (all tubes!) built into the case. My brother Bill showed me my first chords and taught me the intro to Alice’s Restaurant. Later on, my oldest brother Rick had hand-wired a distortion unit on a piece of Masonite – a conglomeration of old transistors and doodads from my step-dad’s junkbox…and my musical tastes quickly switched from Arlo Guthrie to Thin Lizzy..

By the time I was twelve, my interests had expanded to include woodworking…or should I say I’d already dismantled the Silvertone and had the neck slapped onto a Flying-V body made in my junior high shop class. If I remember right, the ash body alone weighed almost twelve pounds.
Between then and now I’ve played a lot of guitar. In my young adult years I traversed the North American continent in several bands, eventually settling down right back where I started in Cedar Falls, Iowa.

Woodworking and guitar, two life-passions of mine, congealed in late 2005 when I created my first original OM template. I looked around my shop and soon realized that I also needed a BUNCH of lutherie-specific tools…so I fashioned my own thickness sander, side benders, molds, and of course the “self adjusting neck jig”.

I’m always trying new approaches and ideas, there is always more than one way to accomplish something in instrument building….but I do rely heavily on many of the traditional methods.

My goal is to design an instrument that projects every nuance of the way you play…one that’s truly beautiful to hear and behold, one that’s inspiring to the player. I hand-tune every top to be as musical as nature and physics allow it to be, and pair it with some of the most beautiful exotic and native tonewoods available. I carve every neck individually to the player’s specs, creating a personalized feel you just can’t get “off the rack”.

I keep each client involved in the building process as commissioning a handmade instrument is a major event in a musician’s life, and the player’s involvement along the way is as important to me as it is to them.



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