Models
Models
My basic basic model is the SFG, with which I have had great success (below left), it has evolved into a very fine instrument. It has a smaller upper bout than the current design (below right). SFG by the way stands for smiley face guitar! I have a strange wife with a wonderful imagination!
The scale length for both models is 648mm (25.5″)
Standard Materials for the basic model:
Top: Sitka Spruce
Back& Sides: Indian Rosewood
Neck: Honduras Mahogany
Fingerboard: Ebony
Bridge: Ebony
Linings: Willow
Bindings: Maple
Purfling: Choice available
Rosette: Indian Rosewood
Bracing: To match top materials
Bridge Pins: Ebony with mother of pearl eye
Headstock: Indian Rosewood
Top nut and Saddle: TUSQ
Logo: Mother of pearl oak leaf
Scale Length: 25.5inches (648mm)
The three quarter Guitar and Mandola both have a 625mm scale length and feature the same materials as the standard SFG.
The three quarter model below left has a western red cedar top and Bubinga back and sides. I made this for my wife Ruth as a wedding present.
Below right is the standard Mandola or short scale bouzouki
I have access to many fine tone woods, should you prefer different woods to the basic model please get in touch to discuss your preferences.
Each material has it’s own characteristics and its input to the finished tone goes hand in hand with playing styles and techniques. Mahogany for example tends to give softer, warmer tones whereas at the other end Maple can give a more bright, harder tone.
For the refined ear, rosewood is in between the two and can give perceived greater projection and depth and is my basic model choice for back and sides.
On a recent trip to the Healdsburgh Guitar Festival in Santa Rosa, California I met with Todd Taggart from Allied Lutherie. He sometimes stocks Brazilian rosewood stump wood which is fine highly figured sometimes bizarre grain patterned pre CITES Brazilian rosewood stumps left over from the days of heavy logging and ground clearance (photo to follow). Brazilian Rosewood is an endangered species and thought must be given to using this wood. Some of the larger tone-wood suppliers quite rightly refuse to stock this wood because of its endangered status.
Below is a Brazilian Rosewood back and side set I was very fortunate to find in this country.
Sitka Spruce is my preferred choice for the steel string top. I have recently found an excellent supplier of great AAA and master grade tops in Alaska, he has always provided me with fantastic wood.
The basic model can be customised with the material or inlay of your choice. My standard logo is an oak leaf.
I will be posting a page soon on wood types and perceived tones and properties. Again it all depends on playing styles and abilities. A great sounding guitar just makes you want to play more and more. I read a quote recently “a great instrument makes an average player sound great and a great player sound fantastic” I believe this to be true.
FINISH
I finish my instruments with traditional shellac and use the french polishing technique. The environmental issues associated with the accepted cellulose lacquer spraying is definitely not my approach. When hardened the shellac finish is just as hard, more natural (not like a sheet of plastic) and more important is easy to repair and touch up without having to re varnish the whole instrument.