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Posts: 1708
Joined: Jan. 29 2012
From: Seattle, Washington, USA
Guitar Building Student
Over the past several months I had a guitar building student in my workshop. Scott did some of the work and some of it he watched me do. I did all of the machining. We spent about 51 hours on it together, by my count. After 3 hours of work on the french polish finish under my tutelage, Scott did the rest of the finishing on his own, then brought the guitar back for fret dressing, tuners installation, and for me to make the saddle and nut. He got a good guitar out of it.
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Posts: 1708
Joined: Jan. 29 2012
From: Seattle, Washington, USA
RE: Guitar Building Student (in reply to Tom Blackshear)
Scott moved to Madrid three days after we strung up the guitar.... He actually claims to be nearly a beginner, but I think he has good technique and plenty of potential. I'm sure he's busy with his girlfriend and new job, but maybe sometime he'll post a video here (hint, hint).
Posts: 1708
Joined: Jan. 29 2012
From: Seattle, Washington, USA
RE: Guitar Building Student (in reply to Tom Blackshear)
I am very happy with the development of my flamenco guitar models, blanca and negra, and there is little variation in the sound quality of the flamencas I have built over the past 3 or 4 years. Moreover, a guitar that I helped someone build is not to be confused with one of my own.
However, I am currently building a classical guitar for someone and at the same time practicing a little classical piece which I hope to record on it before sending it off.
Daniel Staffler and I are old friends from when we knew each other in Moron de la Frontera in 1971. We were out of touch for many years until a few years ago. He lives in Southern California and I live up in Seattle, Washington.
However, I am currently building a classical guitar for someone and at the same time practicing a little classical piece which I hope to record on it before sending it off.
Would you mind sharing what pattern you are using for the classical or is it basically the same with alternate adjustments to its tone?
RE: Guitar Building Student (in reply to Tom Blackshear)
Just got notice that one of my guitar making students struck a deal with GSI in California for the purchase of his guitars. Mark is a very good guitar maker, he well deserves it...
Posts: 1708
Joined: Jan. 29 2012
From: Seattle, Washington, USA
RE: Guitar Building Student (in reply to Tom Blackshear)
quote:
Would you mind sharing what pattern you are using for the classical or is it basically the same with alternate adjustments to its tone?
The only differences between my flamenco and classical soundboards are as follows:
Flamenco has 5 fan braces; classical has 7 (plus the two little braces on either side of the sound hole, which are not on the flamenco).
The flamenco bridge is 1/4" thick at its thickest part; classical bridge is 5/16" thick.
The soundhole is 3 mm lower on the flamenco (and consequently the harmonic bars) because the scale length on the flamenco is 656 mm, whereas the classical is 650 mm.
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