Aims.

In my previous work I concentrated on making guitars that had a wide range of tonal qualities. My design has evolved over the years and incorporates methods which I have copied or adapted from some of the great makers. Gradually I have come to a method of construction and pattern of strutting which I believe works and which has become my own.

The link below is a recently made film of Ian Watt and Mathew McAllister playing a recent guitar of mine. The film was produced by David Kinnear of DK Guitars in Glasgow.

Video of guitar no. 81

It was pleasing to hear these professional players picking up on the qualities I aimed for in my instruments. It is important for me to make not just a one sounding instrument. The ideal guitar is one that can do all that the musician requires. A true concert instrument should be one that all the repertoire can be attained.

Methods.

Below are some pictures of previous guitars in construction.

Guitar no. 81

Guitar no. 81

Guitar no. 83

Guitar no.83

 

Guitar no. 81 is a development from a basic six fan strut design with a treble cut-off bar which I have been using up to this point, (see Previous Work page). As you can see I have a laid out the fan struts so that they cross more grain on the treble side and become more parallel to the grain on the bass side. This was an idea formed from reading Robert Ruck’s idea that Torres gained soundboard stiffness by splaying out the fan struts so that they cross more grain. This development was designed to increase stiffness on the treble side of the guitar and allowing more longitudinal movement on the bass side

Guitar no. 83 was a continuation of the asymmetric fan strutting. With this guitar I wanted to leave out the treble cut-off bar in order to increase the area of movement in the lower bout. Also I was influenced by some of Khono’s ideas of shortening the fan struts by adding transverse struts. I was very happy with the outcome of this last guitar and will stick with this pattern for a while.

No. 84

No. 84

 

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