Finished these two 8-string ‘Brahms’ guitars this month – one commission and one experiment. Both settling in well and already sounding good. The commission will be off to the USA in a couple of weeks, but I’ll hang on to the experiment for a while and get some players to test it and give feedback… maybe I’ll try to record some videos of them too.
Now that these two are off the bench, I’ll be taking time out from instrument making to build my new workshop, so this may be my last new instrument post for a few months (although I still have a couple of things on the go which I’ll finish off if I have time this summer). Normal service will resume in the autumn.
I’m making two 8-string classical guitars at the moment: one commission and one experimental prototype, testing out a new design I came up with recently. Looking forward to being able to compare these two in a couple of weeks!
In-between doing real work, I’ve been making this miniature 5-course guitar for myself:
It’s a cross between a baroque guitar and a soprano ukulele (which I’m calling a baroqulele), designed to fit into standard hand luggage, as a fun travel instrument.
I’m working on prototypes of two new 5-course baroque guitar models at the moment, both using the same body shape/size (my own design, based on averaging several surviving 17th century 5-course guitars) and string length (660mm), but with a few key differences:
The first will be my attempt to reproduce a good, but inexpensive players guitar of the 17th century. The surviving 17th century guitars are mostly elaborately decorated instruments which probably represent the most expensive guitars of the time, made for aristocrats or royal courts. My guess is that 90%+ of the guitars made in the 17th century would have been simpler. There are various 17th century paintings showing relatively simple guitars, which often seem to be made with locally available European woods, and without a lot of ornamentation. I’m taking the basic form of the instrument from surviving museum guitars, and the wood choices and details from paintings.
The second will be a semi-modernised version, with fixed frets, a bridge with a removable/adjustable saddle, and geared peg tuners. The aim of this version is to make a 5-course guitar which works in a modern musical context: i.e. it plays “in tune” in modern equal temperament, and is quick and easy to tune accurately, so it can be used more straight-forwardly with other modern instruments. It should also be an easier transition for someone who’s used to a modern guitar.
Just finished an 8-string Brahms guitar for Tomas O Durcain of the Dublin Guitar Quartet.
Top – European spruce
Back/sides – Indian rosewood
Neck – African mahogany
Fingerboard – ‘Rocklite’
tuners – Schaller
string lengths – 600 – 660mm
In December 2016 I made this semi-authentic reproduction of a renaissance fiddle, partly based on one found on the Mary Rose (http://www.maryrose.org), partly based on a 16th century carving, and partly making it up as I go along, with the aim of making an instrument which will be fun and playable for a modern fiddle player while still sounding something like the original… It’s a slightly random sidetrack from my research into the renaissance guitar in 2016: I was looking at stringed instrument construction in the 16th century, to get an overview of the range of ideas that were being used in other, related instruments at that time – found out about the Mary Rose fiddles and couldn’t resist trying to make one. Anyway, I finally got round to stringing it up today, and it’s sounding surprisingly nice 🙂
I’ve decided to have a new year sale for the whole of January 2017 (mainly to raise some extra cash to build myself a new workshop later this year). Prices of all the guitars that I have in stock are reduced by between 10% and 25%, from the 1st to the 31st of January. More details on my shop window page.
Happy new year!
I’ve finished three guitars in the last couple of weeks: a pair of modern/traditional model classicals, which are now on their way to Taiwan, and the second prototype of my modern classical model…
I’ve been working on the second prototype of my new classical guitar model for the last couple of weeks. I’ve made a lot of changes from the first prototype design, aiming to improve various aspects of the instrument, mainly focusing on ergonomics and playability. I’m going for a very lightweight construction in this version, taking some ideas from Torres guitars and some from baroque guitar construction, and adapting them for a modern instrument. The aim is to make a modern classical guitar which is as comfortable and enjoyable to play as possible… we’ll find out if it works in another couple of weeks.