24 strings
The concept is that of a doubleneck utilizing a pair of 12-string necks. Each side is tuned to a baritone tuning in a different register, but each tuning is different. The left side is in F# baritone tuning, which is one whole step above a bass or E Contraguitar, or a minor 7th below concert guitar tuning. The right side is in A baritone tuning, which is a fourth above bass or E Contraguitar, and a fifth below concert tuning. Each side is in one of my intervallic tunings, but they are not the same intervallic tunings.
Two different registers. Two different tunings.
It is a true 24-string instrument, as both necks are played simultaneously.
The body depth is thinner than any other acoustic instrument I have. In the world of wood guitars, a shallower body depth means less bass response and a thinner midrange, resulting in an unbalanced voice. However, with carbon fiber instruments, that no longer applies. The voice is balanced and rather loud.
For cello position, I'll need to use a different rock stop for the 24. The shallower body depth means that in cello position, the tilt angle is changed from my other instruments.
The custom stereo K&K pickup system sounds like beautiful stereo microphones. And with two sound holes on either side of the body, it is a true acoustic stereo instrument. Using a stereo pair of microphones in the studio renders a wondrous result.
The voice is very unusual, with hints of harpsichord, bass, piano, and even cello in the upper registers.
When I designed the 24 over a year ago, I had specified the two tunings as D (down one whole step from concert E; not a baritone tuning), and A (down a fifth from concert E, so it is a baritone tuning). I made up some string sets for those tunings and sent them to Alistair at Emerald Guitars, and that is how it was set up when it arrived. The action was a tiny bit high, but it was remedied with a truss rod adjustment. 
I wanted the tunings to be lower, and for both tunings to be baritone tunings. I had been doing research on this using the Martin 12-strings, and I know that with the proper gauges I can go to A baritone (octaves on all courses; no unisons) and even G baritone. I wouldn't want to attempt anything lower than that on the Martins, as each time I drop the tuning lower, the string gauges must get heavier.
I have the F# tuning and string gauges that I used when the 12-string Santa Cruz baritone was set up and used as a baritone (now it's set up and used as a Contraguitar). This tuning is one whole step above bass E tuning, or you could also think of it as a minor seventh below concert E. The gauges range from .080 to .011. I had a very strong feeling, based on my Martin 12-string baritone research, that I could indeed get an F# baritone tuning in a 650mm scale if the instrument could handle the much heavier string gauges, and of course this is not an issue for carbon fiber instruments.
After playing the 24 for a few days, I was certain that I could retain the A baritone tuning and change the D tuning to F#. This would provide two entirely baritone tunings, but still in different registers, with the registers being a minor third apart. And both sides would be in intervalic tunings, but not the same intervalic tuning. Two registers, two tunings, on one instrument.
On my doublenecks, there is always a neck that I use as the primary one. On the 30, it's the Contra side. On the 36, it's the intervalic tuning side. In each case, the neck I use the most is always the left neck, as it's more comfortable of a reach and the positioning is perfect. So on the 24, I know I'm going to be using the F# tuning the most, so I wanted that tuning to be on the left neck. "Left" meaning my left when I'm playing.
In the 24 specification, I assigned the A tuning to the L side and the D tuning to the right. So, for me to change the tunings from A/D to F#/A, I'd need to move the A tuning to the R side and then set up the F# on the L side. Of course this is not as easy as it sounds, as the nuts and saddles were set up for A/D tunings, not F#/A tunings. I had thought I would swap the saddles and the nuts, but the nuts looked far more glued-in than I had expected and I was a bit afraid to try to remove them. So I decided to leave them where they are and re-slot them as needed when putting on the heavier strings. I have a good set of nut files, so it's not a huge problem, but of course would have been easier to move the A nut from the L side to the R side. I shaved the base of the D tuning saddle to be a tiny bit (like 0.5mm) lower than the A saddle, as the F# strings are so much heavier than the A tuning's strings. I also had to remove the low F# string's tuner and drill out the string hole in the post, as it's too small to accept a .080 gauge string. The tuners are Gotoh 510 series.
The bridges on the 24 are pinless and top-loading. There is a panel on the back that is removable, and I did remove it while changing strings so I could rear-load the low A and low F# strings. The low F# (.080) and low A (.062) are so bulky at the ball twist-lock that they were not seating properly in the pinless bridge, so I did the bass ball trick. I threaded the string through the ball from a bass string and rear-loaded it. Problem solved!
I then installed the F#/A string sets. F# is on the left, and A is on the right. Because the instrument was originally set up for A/D tunings and lighter string gauges, I had to re-cut some of the nut slots to accommodate the heavier gauges. After the new strings were on I needed to adjust both truss rods a bit. Now it has very low action and feels really great. I may change two or three of the F# gauges, as I went really light with them back when I used these same gauges on the Santa Cruz, but now keeping strings as light as possible is not a limitation with the carbon fiber instruments.
The next project was moving the output jack. It was in a bad location; when in cello position, my left leg blocks it, and if it's plugged-in, I have to put the instrument in an uncomfortable position. Right now, the output jack is several inches away from the cello fitting on the left side. I relocated it to the right side, and about an inch away from the cello pin. That puts it completely out of the way, and makes plugging in/out easier and more accessible. I plugged the old jack hole with a black nylon grommet plug; making the old almost unnoticeable.
It sounds amazingly great. The F# tuning is very resonant, rich, and full. The A tuning provides a slightly brighter, yet still baritone, voicing. Playing both simultaneously provides a very wide range of tonality, ranges, and colors.
I've done some test recordings with it in the studio. On tape, it sounds rather massive.
The 24 will be one of my main instruments going forward, and will be utilized on some upcoming album recording projects. I used it on the August 2022 recording sessions with Laszlo Gardony; a short video is available here.
To Alistair Hay and everyone at Emerald Guitars Ireland: my sincere gratitude.
Click here for photos and more information.
-kk
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