Harpsichords
No. 1, ca 1972, after an Italian single manual, pine case with spruce soundboard made flush with case sides; 1 x 8-foot; CC-d3; jacks attached directly to the back of the key-levers; about 6-feet long, no outer case
No. 2, ca 1972, after an Italian single manual, pine case with spruce soundboard made flush with case sides; 1 x 8-foot; CC-d3; jacks attached directly to the back of the key-levers; about 6-feet long, no outer case
No. 3, ca 1973, after an Italian single manual, pine case with spruce soundboard made flush with case sides; 1 x 8-foot; CC-d3; jacks attached directly to the back of the key-levers; about 4 ½ feet long, no outer case
No. 4, 1974, Italian single manual, inner-outer case; 1 x 8-foot; CC-d3; ebony natural touch-plates and holly sharps; walnut jacks with holly tongues, nylon plectra; soundboard painted by Becky Bayer, purchased by David Hunsberger; outer painted case constructed some years later
No. 4, 1974
No. 5, 1974, Italian single manual, inner-case only; 2 x 8-foot; CC-d3; holly natural touch-plates, ebony sharps; on painted stand; name-board inscribed ‘D. BAYER ME FECIT SANCTE LVDOVICI MCMLXXIV’
No. 5, 1974, with registers coming through the cheek instead of box-slides
No. 6, ca 1975, Italian single manual, inner-outer case; 2 x 8-foot; CC-d3; holly natural touch-plates and ebony sharps; inner-case in western red cedar; walnut jacks with holly tongues, nylon plectra; outer-case painted; commissioned by Carl Smith
No. 7, ca 1975, Italian single manual, inner-outer case; 2 x 8-foot; CC-d3; holly natural touch-plates and ebony sharps; inner-case in cypress; outer-case painted; walnut jacks with holly tongues, crow quill; commissioned by the University of Lethbridge, Alberta, Canada
No. 8, ca 1976, Italian single manual, inner-outer case; outer-case painted; 2 x 8-foot; CC-d3; rebated holly natural touch-plates, ebony sharps; inner-case in wide-grained North American cedar; walnut jacks, holly tongues; crow quill; commissioned by an organist in Niles, Michigan
Rebated natural touch-plates eliminate the gap between name-board and backs of sharps
No. 9, 1977, Italian single manual; inner-case in wide-grained North American spruce; outer-case painted, gold-banding added later; 2 x 8-foot; CC-d3; rebated holly natural touch-plates, ebony sharps; walnut jacks with holly tongues; crow quill; commissioned by DeAnn Pavelka
No.9, 1977
No. 10, 1978, single manual German with double bent-side; 2 x 8-foot; GG-f3; ebony touch-plates, holly sharps; black lacquered case; pear wood jacks with holly tongues; crow quill; commissioned by John P. Walsh
No. 11, 1978, Italian single manual; inner-outer; outer-case painted; 2 x 8-foot; CC-d3; A=415Hz; rebated holly natural touch-plates and ebony sharps; inner-case in wide-grained North American spruce; walnut jacks with holly tongues; crow quill; commissioned by David Baker, now owned by Charles Metz and re-quilled with sea-gull feathers
Detail of no. 11
No. 12, 1979, Italian single manual, inner-outer case; 2 x 8-foot; CC-d3; A=415Hz; keyboard??; outer-case painted; inner-case in cedar of Lebanon; soundboard in German Alpine spruce; walnut jacks with holly tongues and brass springs; crow quill; commissioned by Frederick Renz
No. 13, 1980, Italian single manual; inner-outer case; 2 x8-foot; original range CC-d3; A=415Hz; boxwood natural touch-plates and ebony sharps; outer-case decorated by Andrea Tkash; inner-case in cedar of Lebanon; soundboard in German Alpine spruce; walnut jacks with holly tongues, brass springs; crow quill; commissioned by David Baker
No. 14, 1981, Italian single manual, inner-outer case; 2 x 8-foot; original range CC-d3; A=415HZ; semi-tone transposer added later by Walter Burr, reducing the range to CC-c3; boxwood natural touch-plates and ebony sharps; signed ‘David J. Bayer’ on highest jack; inner case in cedar of Lebanon; walnut jacks with holly tongues and brass springs; crow quill; outer case decorated by Berta Burr; commissioned by Charles Metz
No. 15, 1982. Italian single manual, inner-outer case; 2 x 8-foot; range CC-d3; A=415Hz; bone natural touch plates and arcades, ebony sharps; inner case in cedar of Lebanon; walnut jacks with brass springs; signed on highest key-lever and highest jack; parchment and gold-leaf rose made by Rachel Hunter; wrest-plank re-set and re-strung in 2002 by Huw Saunders; commissioned by Curtis Price and Rhian Samuel
Guitars
No. 1, ca 1966, nylon 6-string, laid–up fiberglass back and sides, spruce top
No. 2, ca 1968, nylon 6-string, laid–up fiberglass back and sides, spruce top
No. 3, ca 1971, steel 6-string, laid–up fiberglass back and sides, spruce top
No. 4, ca 1976, steel 6-string, mahogany back, sides, Sitka spruce top
No. 5, ca 1979, steel 12-string, rosewood back, sides, neck, Sitka spruce top
No. 6, ca 1980, steel 12-string, mahogany back, sides, neck, Sitka spruce top, wooden tuning pegs
No. 7, 1981, steel 12-string, mahogany back, sides, neck, Sitka spruce top, wooden tuning pegs
No. 8, ca 1984, steel 6-string, mahogany back, sides, neck, Sitka spruce top, wooden tuning pegs
No. 9, ca 1984, classical, mahogany back, sides and neck, Sitka spruce top; purchased by Carol Ann Hartman
No. 10, 1985, classical, flamed European maple back and sides, Mahogany neck, German spruce top; purchased by Rodney Stuckey, stolen and never recovered
No. 11, 1985, steel 6-string dreadnought, flamed European maple back and sides Mahogany neck, German spruce top; purchased by Peter Clemens
No. 12, 1986, classical, rosewood back and sides, German spruce top; purchased by David McClune
No. 13, 1987, classical, rosewood back and sides, German spruce top; commissioned by Julian Bream; damaged in shipping and never restored
No. 14, 1989, classical, rosewood back and sides, German spruce top; commissioned by Julian Bream, sold to a guitarist from Greece
No. 15, 1989, classical, rosewood back and sides, German spruce top; commissioned by Carol Ann Hartman