Construction style

I build in a traditional style. To me this means using traditional materials and adopting the principle of combined lightness and strength ( as opposed to heaviness and strength!). This is because I prefer the sound obtained when following those principles. It does not mean that I only build Torres style, fan-braced guitars as you'll see if you read on.

I build instruments which are both light and strong, finding an optimum for the sound quality without compromising the longevity of the guitar. A heavily built guitar will not respond quickly enough ( I am talking about traditional spanish guitars here, not contemporary ones), and one which is too light may not have sufficient focus or weight of note, and might be prone to damage and distortion over time.

Tuning the box

Over the years I have gradually lowered the air resonance of my guitars. I like to produce guitars with a profound bass as well as a beautiful treble, consequently I tune the box quite low - F or F sharp. A G box will make a good treble and pleasing balance, but the bass, even if it is strong, will not have as much depth. As you move the body resonance below G there is a dramatic improvement in bass response. I have built guitars with a very low resonance between E and F, both in traditional style ( Hauser-ish) and using an X-braced pattern. These guitars are beautiful and would definitely please any bass nuts out there. However, if you like a bit more sparkle on the treble then you need to go a bit higher, although the X-braced pattern seems to fair better in this respect. In my opinion, F or F sharp is about ideal. If you want a bright trebly guitar and don't want too much depth in the bass then a higher air resonance is needed e.g. around G sharp. Having said that, air resonance is not the be all and end all - there are many other factors involved in producing a well-balanced guitar.

Bracing patterns for the top

I started out using traditional, symmetrical Torres style fan-bracing ( see photo), with a well-domed top. A number of asymmetrical fan braced strutting patterns have evolved from this, pictured left, which I've successfully used over the years. I have used the X-brace quite a bit in the last couple of years, and I've also used a design employing long parallel bars for my cross-over guitars.

X-braced

Model 12 was used for the first X-braced proto-type which employed an elliptical soundhole to allow for the closed up X. This design was very successful and it occurred to me that it would work very well in the small- bodied model 08 with simplified strutting, where the long vibrating length of this design can be put to good effect in extending the bass response. Please follow the above link to read more about it.

Fan-braced

The strutting pattern for supporting the top which I currently employ for classical guitars uses 6 fan struts ( no centre strut), an under-bridge strut on the bass side with an end-bar on the treble side. This was the result of experimenting with a light strut under the bridge position (shown on the left). I've found that using some asymmetry in the fan bracing system, of whatever type, improves evenness of response and balance. Keeping the under-bridge strut on the bass side helps bass definition, while I prefer the sound of the treble using the traditional end "V" strut on the treble side, the two together happily bringing about the desired asymmetrical layout.

I am happy using a variety of strutting patterns, all of which can be made to produce very good results when you know how to balance things out. The process of learning by such experimentation is crucial. The dimensions and positioning of the struts and the precise doming of the top and its thicknessing are also arrived at by a process of experiment and evolution, and are fine tuned for each and every top.

Long-bar design for cross-over guitar

This is a design that I made specifically for a cross-over instrument. Please follow the link above to read a little more about it.

Thicknessing/construction

The thicknessing of back and sides is something which varies according to the strength and density of the materials being used, so every component of every guitar is thicknessed according to "feel" ( weight, stiffness, sound) rather than to a set of pre-determined measurements, in order to get the best out of the materials. Spruce is used for the struts on the top, and also for the peones/tentallones ( the small triangular section blocks which glue the top to the sides - cedrela or other woods can also be used for these). For the neck, cedrela or mahogany is used, and usually for the back bars and linings also, occasionally spruce. I use from 3 to 5 back bars depending on the size and type of guitar being made. The guitar is constructed face down in a low-sided mould. The neck goes right through into the body in one piece, using the traditional spanish method, the ribs (sides) slotting in to saw cuts made in the sides of the neck/heel block ( see photo on left). Once the back has been fitted the guitar can be removed from the mould. Then the bindings and purflings ( decorative inlays around the edge of the front, sides and back) are added. The last components to be added are the fingerboard ( ebony) and bridge ( honduras rosewood). Once these are in place and the fretwork completed, the neck can be carved and all the finishing work commences, preparing the wood with graded papers until it is ready for polishing.

Finishing

All instruments are french-polished by hand with a rubber ( no spraying or brushing), which means a beautiful finish can be achieved with a thin flexible layer - acoustically this is especially important for the top, so that it's movement is not impeded by a heavy, stiff layer of varnish. French polish is a totally organic material derived from the secretions of the larvae of the lac beetle "Coccus lacca" in India and other parts of south-east Asia. The material is gathered and processed in various ways, ending up with thin sheets that are crushed into small pieces. This is the state that most french polishers acquire it in. Before it can be used it must first be dissolved in alcohol. The polish is applied using a rubber ( a wad of absorbent cotton covered with a cloth) lubricated with a little vegetable or mineral oil. As it dries the alcohol evaporates and the shellac returns to it's hard state. As each layer hardens, another one can be applied until the desired result is achieved. This finish is much more beautiful than synthetic ones because its refractive index is close to that of the wood, so you have an impression of depth looking into it. It doesn't chip, crack or craze like synthetic finishes and can also be easily repaired by a skillful polisher.

All bindings, purflings and rosettes are designed and made by me. Everything, in fact, is manufactured in the workshop with the exception of the metal-work - i.e. the tuning gear and fret-wire.

Set-up

After finishing, the guitar is set-up and left for a few days to settle, after which I begin a process of evaluation and fine tuning - apart from the normal set-up adjustments, most often this involves tuning the back-bars to even out the response. Sometimes I will shave a bit off the top's transverse bars or fan struts. After each change the guitar is left for a bit and then played a little until I am satisfied with the result. This is part of the job where you really need all your experience and patience, but it is worth the trouble.

see dimensions and photos of the different models

6 fan with bridge strut, no end struts

long-bar system for cross-over guitar

6 fan bridge-pad system