NECK: Honduras Mahogany - most stable wood known,
carves well, very strong for its weight.
TOP: European Sitka Spruce,
Quarter-sawn - strongest wood for its weight, very high tone qualities. I
also use Red Cedar and Douglas Fir which are very close in qualities to European
and Sitka Spruce, and Mahogany
BACK AND SIDES: Brazilian rosewood, Quarter-sawn - highest tone quality known,
extremely handsome in pattern and color; Flamed Maple - brightness of treble
tone, very handsome pattern. (Used for Flamencos and some Steel Strings.);
Honduras Mahogany - good tone qualities, very strong for its weight, extremely
stable, pleasing color, very popular for Steel String flatpicking guitars.
BRACING: Top Braces - Quarter-sawn Sitka Spruce; strongest wood for its weight
known, high tone qualities; Back Braces - Honduras Mahogany; very stable and
strong for its weight. I make one back brace of Aromatic Cedar (which is similar
in qualities to Honduras Mahogany) to help keep moths from your guitar case.
FINGERBOARD: Ebony - one of the hardest woods, very stiff, holds frets well,
good color contrast.
BRIDGE: Ebony or Brazilian rosewood - used mainly for its tone qualities
and beauty.
WOOD INLAYS: Used around the sound hole and the perimeter of the instrument
and made at my shop. I use the following woods: Boxwood, Holly, Rosewood,
Ebony, Satinwood, Mahogany, Maple (sometimes dyed). On My Classic guitar the
sound hole is surrounded by a Mosaic Inlay, which I design and construct.
It is composed of different colored woods, each piece twenty thousandths of
an inch square.
At your preference, I can use Mother-of-Pearl,
Abalone, or Silver for inlay on fingerboards, around the sound hole, and the
perimeter of the guitar.
The nut and saddle are made of Bone, Metal, or
various Synthetic Materials (for electronics). The frets are Nickel-silver.
Only top-quality tuning machines are used on my instruments.
SHAPE AND SIZE
The next step is to pick the type, size,
and shape of the instrument. In my Steel String guitars I tend towards the Pre-War
Martin and Gibson shapes. My Classics and Flamencos are patterned after Domingo
Esteso. In a hand-made instrument the shape and size are flexible due to the
fact that no forms are used. The sides are bent by hand and checked against
patterns. This system of construction gives the hand-maker extreme versatility
in creating the shape and determining the depth and width of instruments, thus
making it possible to develop the sound and tone qualities desired.
SETTING THE ACTION
The next step is to glue on the fingerboard
and bridge, and start setting the action. This is done by hand-planing and scraping
the fingerboard and bridge. To reach the exact measurements required this must
be done with the guitar tuned to pitch, which means the strings must be put
on and taken off on an average of ten times during planing and scraping to reach
desired measurements.
FINISH
The last and very important step is the
finish. The object of finishing the musical instrument is to protect the instrument,
to create clarity of sound, and to enhance the beauty of the wood. The finish
I use is Lacquer. I have experimented with Varnish and French Polish, and I
find Lacquer to give the best tone. When finishing the instrument the most important
consideration is to keep the finish thin. This usually takes about six coats;
then the finish is hand-rubbed.
PERSONAL PREFERENCES
In addition to selecting the style and
size of the instrument, you may specify: the string length; the neck width and
shape; number of frets clear of the body; whether the fingerboard is arched
or flat; left-handed setup; pick guard type and shape; open or solid head. The
finish can be rubbed to a high gloss or a dull sheen.
The following options are also available:
gold-plated machines, extravagant inlay work on the fingerboard and/or body
of the instrument, multi-string models, cutaway models, electronics installation,
custom cases.
GUARANTEE
I guarantee my instruments against any defects
in materials or craftsmanship.
