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Hi. How is the guitar doing? About that brace pattern, my student had a book with different vintage guitars with brace patterns shown. I noticed the parallel braces used by Ramirez III, but only 5, on a flamenco guitar from 1962. The 7 strut version more like this one, with the two outside struts fanned not parallel, was on a 1975 Gerundino negra of all makes! It looked almost exactly the same, except for the two bars that go all the way up and surround the soundhole.
But the book did not have Conde Hermanos, the specific design. He did have a couple Estesos and one Vda y Sobrinos, which IS Conde of course, but more designed like the Esteso in terms of looks and bracing. And it was old, like 1942. Most of the other guitars in the book used the standard style fan bracing. Only the Ramirez and Gerundino used the parallel struts.
The guitar is almost done. Frets will be done today then I'll begin the final sanding to clean it up before applying the finish.
Interesting about those other guitars. I guess most of the old Condes were designed like the Esteso. Not sure when they started doing their current design. I wonder if this design is only done by the Felipe V shop or if the other two have there guitars done this way? A 2003 Gravina I recently sold was more like the Esteso. This one was their version of the A26.
I've only seen two designs similar to the modern Conde where the 2 braces extent up to the upper transverse bar. Both were on a classicals. A Bouchet and a Friederich.
hi tom, for what it's worth, i've owned/seen condes that used spruce and (probably spanish) cedar for the long braces that border the soundhole. i would think either would be suitable, since i imagine lightness and strength along the grain are the key properties for those, and both woods have it. (of course, you could try some douglas fir!)
by the way, do you still own that '05 conde that this guitar is based on?
hi tom, for what it's worth, i've owned/seen condes that used spruce and (probably spanish) cedar for the long braces that border the soundhole. i would think either would be suitable, since i imagine lightness and strength along the grain are the key properties for those, and both woods have it. (of course, you could try some douglas fir!)
by the way, do you still own that '05 conde that this guitar is based on?
Hi hhmusic,
Your probably right. I sold the 05 to a good friend on the condition that I could see it anytime I wanted to, day or night at any hour, for studying purposes.
This guitar will be in my hands a lot as I continue to get a good idea of this construction method.
You know those guitars we have owned at one time and sold only to regret that sale later? well, this was one of those guitars.
Here's a pic of the original.
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If you or anyone else has an original Felipe V Conde that they would like for me to draw a plan of, you can send the guitar to me for about a week and I'll be happy to make a plan for the Guild of American Luthiers.
The guitar has to be a good one, and the sender must pay shipping and insurance both ways.
I'll fore-go my shop fee of $750 US, as a donation to the GAL.
If you or anyone else has an original Felipe V Conde that they would like for me to draw a plan of, you can send the guitar to me for about a week and I'll be happy to make a plan for the Guild of American Luthiers.
The guitar has to be a good one, and the sender must pay shipping and insurance both ways.
I'll fore-go my shop fee of $750 US, as a donation to the GAL.
I have been following this thread with interest as I am planning to attempt to build my first guitar this year. Thanks for mentioning GAL as it is a resource I did not yet know about. I see you have plans for a 2003 Manuel Reyes there. Not knowing anything about guitar design, do you think this would be a good design for me to follow? I have some woodworking skills and tools, but any suggestions on how to start?
The guitar is a fairly easy build if you have a teacher to help with particulars, like the neck angle, which is not indicated on the plan, and such. But it requires that you follow the plan and not deviate from its specified fan braces, shapes, sizes, and tapers, etc.
Then you have the playing scale which has the bridge about 1 mm longer, as it will pull forward to exactly 655 mm when strung up and playing. All these things you have to be aware of when you build the plan.
Do you know of any teachers in Southern California? I might be able to get some help from the builder of my guitar, Alejandro Cervantes but not sure if he would want to teach somebody.
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