McPherson 4.5 CAMRIELLE RM / RW

More than three decades ago, McPherson revolutionized the acoustic guitar world by introducing a unique Offset Soundhole Technology. This breakthrough design increased the total flexible surface area on the central part of the instrument.

Since then, we have continued to be a pioneer in the marketplace with our state-of-the-art bracing, cantilivered neck, and soundhole design.

When asked the question, “Why do you play a McPherson guitar?”, some might answer it’s the superior craftsmanship or the stability of the neck. Some might say it’s the innovative design or the inspiration it brings to the performer. But without a doubt they will all agree it’s the sound of the McPherson guitar that sets it apart from the crowd. The rich, full tone and clarity of the McPherson guitar is like no other. Once you pick one up, you will never want to put it down.

The elliptical shape, size and location of the McPherson Guitars soundhole are the result of exhaustive testing. Traditional center-hole designs rob a guitar of sound-enhancing flexible surface area. By moving the soundhole to a very specific and crucial position on the face of the guitar , we have effectively increased flexible surface area on the central part of the instrument. By allowing vibrations from the bridge to travel directly across a longer unencumbered soundboard, we increase sustain and resonance. The result is a sound you have got to hear to believe.

If you look closely you will see that the fretboard on the McPherson Guitar is not connected/glued onto the top of the guitar. This cantilevered design allows the top to vibrate and resonate to its fullest potential. Inside the neck is a triangulated system which stabilizes the neck and eliminates the need for adjustment.

This system starts with a carbon graphite truss rod, which is much larger than any other on the market. The carbon rod runs the length of the neck from the tongue to the headstock. Through this carbon rod we install a brass taper pin down into the heel and then tie these together using a stainless steel screw, which is sent through the carbon rod and tapped into the brass pin. This system prevents any flex not only in the neck itself but also in the neck heel.

An aluminum plate and a series of stacked  are used to attach the neck to the body. These washers maintain a constant tension on the bolts in the event of changing humidity levels.

The result is a neck design which has been praised repeatedly for its incredible strength and stability by touring musicians from all over the world.

We use a series of laminated braces that minimize the connection to the underside of the top, thereby maximizing top vibration and resonance. The braces are allowed to vibrate independently by arching over or under the intersecting points on the top. Side braces are aligned with both the top and back braces to mechanically channel these vibrations around the entire body of the guitar.

Our innovative, state-of-the-art bracing maximizes the available open, “vibrating” area on the inside of the guitar face.

FEATURES

• Madagascar Rosewood back and sides
• Western Redwood Top
• Offset Soundhole
• Cantilevered neck
• Truss Rod: Non-adjustable, unidirectional high-modulus carbon fiber
• Ebony bridge
• Ebony bridge pins: Unslotted with mother of pearl dot
• Fingerboard: Ebony with 14 inch radius
• Nut: Natural Bone
• Buzz Feiten intonation system - Three custom bone saddles set up for low, medium, and tall action
• Binding: Flamed Koa
• Electronics: L.R. Baggs 3 VOLT Element pick-up, pre-amp and volume control
• Tuners: Schaller M6G Gold Tuning machines
• Gold strap button
• Case: Custom fit Hoffee Case Carbon Fiber Shell
• Inlay: McPherson mother of pearl inlay on head cap and mirror image on bridge plate
• Finish: IC&S UV finish - An extremely durable clear finish which retains tonal integrity of the wood while protecting the guitar from harmful elements
• Strings: Elixir Nanoweb medium gauge strings