Guitars Of The Week:
The Week of November, 22 1999 through November, 29 1999

Hollow Drop Top Classic
Maple Top on Hollow Basswood
Cajun Red with Binding

Over the roar of beautiful guitar music I could hear it, “ring-ring, ring-ring.” Was it a microphonic pre-amp tube? “Ring-ring,” I looked down at my phone lines flashing. Steve and Laurie were already talking with other customers. Ring-ring. I snatched up the phone and said “Paul Reed Smith,” no, I mean “Tom Anderson Guitarworks.” A very polite voice on the other end of the phone said, “Hi, my name is Skip and I was wondering how my guitar is coming along. I am really looking forward to getting it.” Skip, that name was familiar. Oh yea, I remember. “Did you say Skip,” I asked? He replied, “Yes, I did.” “Not Skip who has a Cajun Red Hollow Drop Top Classic on order with Brian Harris at Brook Mays in Dallas TX?” “Yes, that’s me,” he answered. He must have thought I was so on top of it to have that information in my head. I continued, “Oh man, didn’t Brian Harris tell you what happened with your guitar?” “No, what,” he replied in a worried tone. “Well,” I explained, “Your guitar was just completed and I was in the back playing it and…are you sure Brian didn’t tell you what happened?” “No, oh no he didn’t tell me a thing, what is it, what’s happened?” “Well, sorry, but I was in the back and I opened up the case to reveal a totally beautiful Cajun Red Hollow Drop Top Classic—one of my favorite colors. I picked it up to play it acoustically first. I strummed it. I started to play a song on it and the tone was so unbelievably full and rich and huge that it felt as though a giant blast of tone was the gushing off the front of the guitar, somewhere around the bridge area, and hitting me right in the face. It was overwhelming. I was instantly in love. Art, one of our beloved assemblers—who also happens to be the gentleman who assembled your particular guitar--was walking by. I excitedly yelled at him, ‘Listen to this guitar. Can you believe how beautiful this is?’ Art, replied, ‘It is so loud it almost sounds like an acoustic guitar.’ So, I can’t help it Skip but this guitar has to be ‘Guitar Of The Week’-- has to be!!! The first thing he asked me is, “What is ‘Guitar Of The Week?" He had never seen our web site or anything like that. He is just a great player who deserves a great guitar and he got it. Needless to say when I explained all about “GOTW” he was thrilled. A very nice guitar for a very nice guy, what could be better than that?

I know I’ve said it before but I’ve got to say it again, if you have never played an Anderson guitar unplugged and listened to it acoustically you have not really lived. You can sure tell why these guitars sound so wonderful. They have all the fullness and all the warmth but with a resonance and extended band width that will allow you to dial up the most lush electric guitar tones ever heard.

Sorry if I sounded gushy there but it is just too much for one musician to take. I LOVE IT!

Okay, to the specs on this one: A Cajun Red Hollow Drop Top Classic with a natural binding edge. Of course the “dropped top” allows for the most comfortable body contours known to man or beast—which are you? The body is a basswood backed/maple top with hollow chambers and the neck is maple with a Madagascar fingerboard. Madagascar has a slight reddish hue because of the natural red oils in the wood. It looks great with this body color and the sound of Madagascar with hollow is meant-to-be. The neck backshape is a T/A standard with a 1 5/8th inch nut width. This is our smallest sized neck. I wonder what that says about the “big neck for big tone” theory?

The switching is our B5 with an add-bridge push/pull switch on the tone control. The small toggle between the volume and tone control is a master splitter switch. Here is how it all works: Let’s call position 1 the neck position. Positions 1-4 on the 5 way operate traditionally and the master split switch can be used on any of these combinations to get either series or split out of each pickup. Position 5 is full power humbucker all the time. This feature allows Skip to solo with one click no matter which rhythm tone-setting he is using. We affectionately call this the blower switch. On this configuration the “blower switch” is the 5th position of the 5 way. The push/pull on the tone control allows Skip to add the bridge pickup to positions 1 & 2 only. This gives him the added pickup combinations of neck + bridge and all 3 but since it only functions on positions 1 & 2 there are no redundant switch positions.

Well Skip, I just hope you're happy…cuz we sure are thrilled. Happy playing.

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