Instruments Inlays
for the Stick, Grand Stick, Stick Bass, Ten String Grand, Stick Guitar and Alto Stick models
for inlays on the Railboard please see: Railboard inlays, and for the NS/Stick, please see NS/Stick inlays.
Bamboo 10-string Sticks
with black pearl linear and dot inlays
Rosewood Stick
with white pearl linear inlays
Bamboo 10-string
with turquoise dot inlays
Paduak Grand Stick
with white pearl linear inlays
Rosewood Stick Guitar
with guitar pattern inlays (SG12, SB8 and Alto only)
Maple 10-string Stick
with rust linear inlays
Dots or linear? your choice...
We offer a choice of dot or linear inlays on all Stick instrument orders.
Options include genuine shell, realistic Recon Sone and colorful PolyPearl. Our trademark inlay pattern every five frets is standard.
Each Stick is inlayed with four equal sized 1/2" diameter dots or starting at the
second fret space and repeating every five frets (in perfect 4th
intervals) along the fretboard. Our Stick Bass (SB8) and our guitar scale models, the Alto Stick and Stick Guitar (SG12) are also available with a traditional guitar dot inlay patterns.
Inlays are functional and decorative. High contrast improves visibility in low light conditions, so players should base their decisions on wood/inlay combinations that appeal to them aesthetically, and will give them the visual reference points they need.
Inlays are functional and decorative. High contrast improves visibility in low light conditions, so players should base their decisions on wood/inlay combinations that appeal to them aesthetically, and will give them the visual reference points they need.
DOT INLAYS
We offer a rainbow of colorful dot inlays from shell and "black pearl" textured recon stone to glow-in-the-dark.
LINEAR INLAYS
Greg suggested lines for better visibility, and set closer to the "leading" fret (the one that "stops" the tapped string and determines its length of vibration).
I agreed that a parallel strip inlaid close to the leading fret would highlight the fret itself, whereas the original centered dots accentuate the spaces between. I wanted each strip to run in a channel all the way across the board and have a substantial thickness so as to make their ends visible from both sides as well, especially from the bass side in direct player's view. The thin markers look pretty nice in various bold colored acrylic plastics, and they're in line-of-sight of the player, even over the Rail tips from an extreme viewing angle of 15 degrees or so (headstock inclined a bit inward toward the left shoulder in common playing position).
Some sets of strips are of a "glow" plastic material, absorbing light and glowing phosphorescent green in the dark. The glow fades away after an hour, maybe just in time for resuscitation between sets. By day they're a warm off-white, nice for Indonesian rosewood or charcoal black graphite. In the dark, just paint your fingernails a similar "glow" polish and you'll be color coordinated.
I agreed that a parallel strip inlaid close to the leading fret would highlight the fret itself, whereas the original centered dots accentuate the spaces between. I wanted each strip to run in a channel all the way across the board and have a substantial thickness so as to make their ends visible from both sides as well, especially from the bass side in direct player's view. The thin markers look pretty nice in various bold colored acrylic plastics, and they're in line-of-sight of the player, even over the Rail tips from an extreme viewing angle of 15 degrees or so (headstock inclined a bit inward toward the left shoulder in common playing position).
Some sets of strips are of a "glow" plastic material, absorbing light and glowing phosphorescent green in the dark. The glow fades away after an hour, maybe just in time for resuscitation between sets. By day they're a warm off-white, nice for Indonesian rosewood or charcoal black graphite. In the dark, just paint your fingernails a similar "glow" polish and you'll be color coordinated.
