CLASSICAL GUITAR
I consider that my classical guitars stand within a spanish guitar tradition, but they are personal expressions both visually and sonorically. The guitars I make are the result of years of experimenting and developing ideas and precise execution of the craft.
I aim for guitars that sing with warmth and character. I consider that the voice of the middle register is crucial for the overall quality of the guitar, tying together the celestial highs and bodily basses.
I like light guitars and work specifically to reduce weight.
I feel that tradition is more than copying the past; it's about finding patterns and ways of thought behind the objects themselves. Therefore I think of how I make guitars as more about discovering the possibilities, than reinventing it - or even copying - myself or others.
features
Body
I have used different silhouettes over the years. The one I normally use now, draws inspiration from various makers, (particularly Domingo Esteso), but is my own line.
Depth is +/- 93 - 100 mm
Neck
Spanish heel construction - neck is anchored into the box. This gives the guitar constructional stability.
V-joint head union (or sometimes scarf joint).
D-shape - slightly cornered.
Dimensions (standard measurements):
52 mm at nut
61 mm at union
23 mm thickness
Details
Rosette combines variations of marquetry work with spalted ash. The spalted line is created by a fungus that consumes the sugars in the wood. I collect these pieces from old trunks in the forest outside the workshop.
I normally make bridges in rosewoods, with 12 hole string tying system and compensated saddle. The bridge is made to work in close relationship with the interior side of the top.
With the headstock I seek simplicity and balance. It can be fitted with machine heads, mechanical pegs or traditional pegs.
Soundport. Most customers like the way a sound port in the upper shoulder enhances the overtones to the guitarist. I make a double layer cover of hand cut parchment to embellish the soundport.
purflings and linings - ask for options.
I normally finish my guitars with multiple coatings of shellac - a natural product created by the lac bug. This technique is normally referred to as french polish, and creates a stable, beautiful and acoustically appropriate way to finish a guitar. The top I sometimes leave with a seal coat only. Oil is optional for necks to achieve a smoother touch and a satin look.
headstock
simplicity and balance
rosette
spalted ash and marquetry combination
bridge
precition and slight saddle compensation
soundport
soundport 'rose' in parchment
options
Tuners
Standard machine heads are certain models of Gotoh or Schaller. I also offer traditional pegs as standard. Other high end tuners (including mechanical Pedheds) available with extra cost.
Strings
Standard strings for classical guitars are Knobloch. Other strings (carbon, nylgut or gut/silk) available.
Case
If the guitar is going to be shipped you'll need to add a hardcase. Contact me for options.
Woods
The woods add structural and vibrational properties to the guitar. The different parts of the instrument require wood with different qualities. Many types of wood can be combined into a great guitar. I've put together the following standard proposals for combinations, but I have many options available.
Norwegian wood (top:norwegian spruce, b&s:ash/maple, neck:black alder, fretboard:cherry/maple). White/golden guitar. All woods are local.
Tradition (top:alpine spruce/redcedar, b&s:indian rosewood, neck:cedrela, fretboard:ebony)
binding
Basic binding in lacewood
french polish
Golden schellac finish on flamed maple
scarf or V-joint union
Option in tuners (here Scheller)
woods
Traditional, local and sustainable woods