2017 African blackwood / European spruce concert classical, available for trial. Open, lush sound with creamy, sparkling trebles and lots of power. This is one of my favorite tonewood combinations, and it's well represented in this instrument. Blackwood is rarely found in quartersawn, knot-free billets, and European spruce is becoming very difficult to find without runout in the grain. I work very hard to find wood that meets my criteria, but guitars like this one consistently remind me that it's worth the effort!
2017 camatillo rosewood and western red cedar concert classical, fresh off the finishing bench and ready for adoption. Powerful, focused tone with excellent clarity and sweetness. Contact me for details.
One of my favorite steps in guitar making is planing down the bindings and purfling that comprise the decorative edging of the body. After all the tedious work of fitting and gluing, it's always satisfying to flush everything down and see the result. This here is an ebony binding on a Brazilian rosewood body. ... See MoreSee Less
Here's a chart of all the sound board wood I've deflection tested over the past few years--the x axis is longitudinal stiffness, y is cross-grain stiffness. The size of the bubble represents density (bigger=denser), and the color identifies the sample species (blue is western red cedar, purple is European spruce, brown is sitka spruce, and yellow is engelmann spruce). Interesting to see how much the species cross over, and what the general trends are.
Cedar is usually assumed to be less dense and more flexible than spruce--here we see that, while generally true for longitudinal stiffness, cross-grain stiffness is usually in the same ball park between the two woods. Similarly, many of the cedar and spruce samples have around the same density--but the stiffest spruce is always significantly denser.
Another interesting observation is that density doesn't correlate that much with cross-grain stiffness--it seems to be mostly longitudinal stiffness that tracks closely with density. ... See MoreSee Less
Here's a tidy little stack of cow bone, maple and Brazilian rosewood--ultimately it will be sawn into thin tie-block veneers, but I kind of like this object as it is: a heavy, smooth, perfectly rectangular domino of contrasting materials. Fancy paperweight, anyone? ... See MoreSee Less
The most beautiful wood in the world, ladies and gents, might just be good old flamed maple. The figure is really popping after a base coat of linseed oil. Next, the first applications of shellac will go on in the French polishing process. ... See MoreSee Less
Having fun laying out a geometric purfling design on this maple guitar-- a type of decorative motif widely used by English viol makers in the 16th and 17th Centuries. A bit of that old world flavor! ... See MoreSee Less
Western red cedar sound board with grid bracing, neck and end block assembled. This is a very stiff, thin top, helping to compensate for the lower string tension of this guitar's 640mm vibrating string length. ... See MoreSee Less
Here's a little rosewood cleat all ready to be glued to a side crack on the inside of a guitar. I use rare earth magnets on the cleat to reference a corresponding magnet on the outside of the instrument in the correct location. Very useful, since once your hand is inside the guitar, you are working blind. ... See MoreSee Less
European spruce bracing for four guitars, roughed out and joined. My bracing patterns are mostly interlocking, so I can assemble them first and then glue them into place on the sound board in one step after shaping. ... See MoreSee Less