The Classical guitar is the challenge that keeps me building instruments after 45 years. As a player I have always loved the responsiveness and lovely sounds that are possible with a well executed instrument. And while the traditional forms are lovely in themselves, many of them succeed in spite of themselves rather than because of them. Throughout the decades I have investigated many aspects of traditional guitar design and experimented with variations that made sense to me. In upcoming posts I will describe some of these variations that have made it into my current offerings.
During the past few years I have revamped the line of guitars that I will be offering going forward. The new lineup features:
- “Double Top” soundboards are now standard on classicals.
- New bracing specifically designed and tested for Double Top construction.
- French polish finishes.
- 5 piece neck shafts. More stable and less likely to absorb too much vibration.
The move to double top technology is based on the superior performance I get using it. Demonstrably louder, more balanced with greater overhead than my solid top instruments, this is an obvious move ahead of the pack.
New soundboard materials require new bracing strategies, like my split diamond bracing. The results of this flexible fan/lattice/kasha hybrid has produced exceptional results and we’ve just begun to explore the possibilities.
Years working with toxic finishes has left many luthiers physically weakened or dead. The only rational response is to return to the only truly nontoxic finish, shellac, aka French polish. Always the best finish acoustically, it does require more care than synthetics.