Fan braced Austrian spruce – Romanian maple

Traditional bracing, Austrian spruce soundboard with Romanian maple body
Brazilian rosewood bridge, African Blackwood fingerboard and headplate
Spanish cedar neck, Gotoh Deluxe tuners.

 

I’m very happy with the sound of this guitar.  Sweet and transparent tone, with a deep bass and fat trebles when asked for.  It also seems quite microphone-friendly.

Raw recordings before french polishing:

Lattice braced Carpathian spruce Bubinga

-lattice braced Carpathian spruce
-padauk bridge
-bubinga back and sides
-V-joint cedro neck with Amazon rowsewood fingerboard and Gotoh tuners
-maple binding

Bubinga is an African tonewood becoming more used in the recent years, although more so on steel string guitars. It is very hard and dense, above typical rosewoods, with a dry, woody taptone. The tone is clean and direct, reminding me of both maple and ebony. I am pleased with how it turned out and obtained several high grade sets.

Cedar – “the tree” mahogany with rosewood neck

This is a special guitar which I made for myself. It happened that last year the number of builds caught up with my age – 34.
The (fan-braced) soundboard is the best I have handled so far, rivaling a double top.   According to the seller it came from a reclaimed dead tree from the Vancouver area.
-back, sides, headplate and rosette of highly figured Honduras mahogany,  the famous “the tree” cut in 1965.
-neck and bridge of 60 yo Brazilian rosewood
-fingerboard and back strip of bois-de-rose Madagascar rosewood, Indian rw binding.
-Gilbert tuners

Recently the guitar passed to an incredible guitarist I met, Cristian Gramesc from Salzburg.
Soundclips: pieces by Tedesco, Regondi and Brouwer, Savarez strings.

Hommage à Romanillos Flamenco blanca

Flamenco blanca, Austrian spruce soundboard and Spanish cypress body.
Jose Romanillos inspired decoration, whom I greatly admire as both luthier and person
small Spanish plantilla, 650mm scale
Cedro neck, V-joint, head plated with Amazon rosewood and bird’s eye maple
“Bois de Rose” Madagascar rosewood fingerboard
rosette background is bois de rose, “the tree” mahogany and 100yo Cuban mahogany; arches side grain flamed maple
hand-made herringbone purfling, all natural colors from more than 10 different species of wood
Brazilian rosewood bridge.

A few soundclips recorded by a classical player not being able to get a flamenco player in a short notice are linked below the photos. Guitar is absolutely asleep being strung for just 1 hour. D’addario EXP46 strings.

Spruce / Cypress Bouchet

-Austrian spruce top, Bouchet bracing, 640mm scale
-Cypress body
-Spanish cedar neck with African ebony spine and fingerboard
-Indian rosewood bridge, headplate and binding.

Raw soundclips recorded without varnish:

#28 completed

Austrian spruce soundboard, fan bracing (made from 90 years old spruce), figured Ceylon satinwood body
Brazilian cedar neck, 650 mm scale, with Macassar ebony fingerboard and hard bronze frets
Brazilian rosewood (60 years old) bridge, Madagascar rosewood headplate, Indian rosewood binding
Klaus Scheller engraved tuners.

D’addario strings, first day test, bare wood (and lots of drilling background noise):

#27 completed

German spruce soundboard, Bouchet bracing (mix of 90 and 20 years old spruce), flamed European maple body with 110 years old Cuban mahogany bracing
Brazilian cedar neck, 660 mm scale, with Bois de rose spine and African blackwood radiused fingerboard
Brazilian rosewood (60 years old) bridge, Madagascar rosewood headplate, Indian rosewood binding, maple, rosewood and boxwood purfling.
Rubner tuners with snakewood buttons.

Bare wood recordings, normal tension nylon:

#25 completed

This is my first maple guitar – a small plantilla Bouchet braced spruce top. At the first touch, maple is not that attractive for a guitar maker. It is difficult to plane, bend, and keep clean. Workmanship mistakes are impossible to hide, but at least there are no pores to fill. Other than looks, it does not excel structurally. It is not very dense (helping power and projection) but not very light either (giving a spontaneous, airy and lively sound like cypress). If you want to leave some meat and weight into it, it is too stiff (here the flames actually help) The taptone is dull, suggesting a dry sound lacking overtones. And yet this is the wood of choice for bowed instruments, but those have a lot more energy at disposal and something that filters the power is a good idea. A violin with a cedar top, or rosewood body, would likely sound way too scratchy and metallic.

To my great surprise, the guitar turned out very well and this has become one of my favorite tonewoods. The color is not dry and simple, but just clean and pure. In comparison, rosewood almost sounds too cluttered and dark. There are plenty of overtones but discrete, not in-your-face. Trebles are clear and pure, and also can sound sweet (like cypress), something I can hardly hear in rosewoods. The sound is overall open and loud, more open and direct than on a similarly new rosewood. The clean and direct tone makes bad playing more evident than on rosewood.

Raw sample without varnish, nylon strings

Specs:

-Austrian spruce soundboard, Bouchet bracing, 650mm scale
-Bosnian flamed maple back, sides and secondary headplate
-Madagascar rosewood headplate, neck spine and bridge
-Spanish cedar neck with ebony fingerboard
-Indian rosewood binding with bloodwood and maple back and sides purfling.

#24 completed

My third flamenco guitar, made for El Grelo.

-Swiss spruce soundboard
-Spanish cypress back and sides
-Madagascar rosewood bridge, binding and headplate
-Spanish cedar neck with carbon fiber reinforcement
-African Blackwood fingerboard, 655mm scale.