Finally picking up with the deliveries…this time a feather light Torres homage in Italian intense bearclaw spruce and shell figure maple. Although I have been offered the maple as being Romanian maple, I suspect it might be from one of the American species instead, or even something entirely different (birch?) Whatever it is, the physical properties and tone are maple like. 640 scale, Malaysian ebony fingerboard, Madagascar rosewood headplate and bridge, Sipo mahogany neck and binding, ultra light aluminium plate Gotoh tuners.
This guitar has been a very pleasant surprise, with excellent projection and a treble tone ranging from clean clear to warm and sweet as needed. Demos below (below the photos) thanks to visits by Andrea de Vitis and Danguole Lingyte; normal tension d’addario nylon strings, absolutely no processing or effects used.
Continuing to catch up with the blog, this is my first wenge guitar made in 2020, and despite the difficulties of using this wood the tone is really a pleasant surprise. The top is Italian Alpine spruce, wood lattice bracing, ebony headplate and binding, African blackwood fingerboard and armrest, Brazilian rosewood bridge. Below the gallery, a couple videos made by the owner.
I continue to show some older work, this time a flamenco from 2020, cedar with cypress, Rio fingerboard, aluminium tuners – quite light overall. Unfortunately the only sound sample is by yours truly and in raw wood. Big and rich sound, really loved it (especially for a cedar top)
-lattice braced Carpathian spruce
-bubinga back and sides
-V-joint cedro neck with Amazon rowsewood fingerboard and Gotoh tuners
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.
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.
Recently the guitar passed to an incredible guitarist I met, Cristian Gramesc from Salzburg.
Soundclips: pieces by Tedesco, Regondi and Brouwer, Savarez strings.
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.
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):