Galleries (2003 – 2010)

I am currently in the process of moving my old website to a new one.

Until I get all the pages organised, it’s going to be a bit difficult to navigate.

Please bear with me.

 

Unfortunately, many of my archive pictures have been lost during the move, including all pictures of my Torres model, Vintage model, all Western guitars, Ukeleles and Other guitars.

Believe me, I am just as disappointed to lose all photographic record of some of my most interesting instruments as I’m sure you are at not being able to see them.

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C-03 Classical

‘The Twins‘  (2005)

Here is a pair of guitars identical in every way except for the soundboard. One is of Western Red Cedar (including cedar struts), the other of German Spruce. The backs and sides are of Indian Rosewood, the necks are Mahogany laminated 
to ebony, the fingerboard is ebony, the bridge is century old Madagascar Rosewood, saddle and nut are made of bone. Scale length, 650mm.

backsbridgefrontheadheelrosettesides

Jerusalem

This guitar I made while on a trip to Israel in 2003. It was built over a period of two months and is inspired by the art and cultures of Jerusalem where I was staying.

 The back and sides are made from highly figured Tazmanian Blackwood, the soundboard from highest quality Alpine spruce with very striking ‘bear-claw’ figuring, the neck is of quarter sawn ceder and the fingerboard and bridge are of old stock Brazilian rosewood.

tazbacktazbridgetazfronttazheadtazrosettetazside

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C-07 Classical


New design for 2007. Wider lower bout, deeper body for extra power and projection. Innovative multi-scalloped bridge bar (underneath the bridge inside the guitar) for greater string tension and improved sustain of higher notes. 12-hole tie block and zero fret as standard on all my latest guitars. 650mm scale length. This guitar has cedar top, indian rosewood body, african rosewood bridge, ebony fingerboard, cedar neck.

backfrontheadrosette

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New design for 2008. A well balanced, warm and elegant, modern classical guitar.

 This guitar has bearclaw figured sitka spruce top, figured maple body, mahogany neck,  rosewood bridge, ebony fingerboard.

bridgefront (1)front

front2headlabelrosette


back

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2008 Flamenco

  • Swiss Alpine spruce ‘moonwood’ soundboard with bearclaw figure
  • Cypress Back and sides
  • Honduras cedar neck
  • Rosewood fingerboard and bridge – 13 hole tie block
  • Rosewood bindings, Olive and rosewood rosette
  • ,

Ziracote Special 2006

The shape of this guitar is taken from a 1938 guitar by Herman Hauser. It has many special features including – oval soundhole and side soundportcarbon fibre neck rod, double laminated sides, 12-hole tie block and a very unusual head design.

The soundboard is spruce, back and sides ziracote, cedar neck, brazilian rosewood bridge with ebony and bone tie block. The tuners are hand made in Italy by Nicolò Alessi.

Spectacular ziracote back and sides with birds eye maple bindings. The idea behind the soundport is that it directs the sound towards the player, giving a better sensation of the sound being produced. There is also some theory that the soundport draws air into the body of the guitar and increases projection from the main soundhole. I cannot verify this theory though I can say that this is a powerful sounding guitar, though this may also be in part due to the double laminated sides which are much stiffer than a single side, having the suposed effect of transferring vibrations more directly to the back and thus getting a greater response.

Unusual head design. Also featuring a zero fret. I was a bit dubious about using a zero fret but I´m now converted! All my future instruments will have one unless requested otherwise.  Extremely low and even action and balanced tone whether the string is open or fretted.

12-hole tie block giving a greater angle upto the saddle and also eliminating the need for twisting and knotting the string all over the block. This will also be standard on all my future classical guitars.


2007 Walnut

Walnut body. Spruce top. Elm Burr bindings, rosette and head veneer. 20 fret Ebony fingerboard. African rosewood bridge.

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Ziracote Special 2006

The shape of this guitar is taken from a 1938 guitar by Herman Hauser. It has many special features including – oval soundhole and side soundport, carbon fibre neck rod, double laminated sides, 12-hole tie block and a very unusual head design.

The soundboard is spruce, back and sides ziracote, cedar neck, brazilian rosewood bridge with ebony and bone tie block. The tuners are hand made in Italy by Nicolò Alessi.

Spectacular ziracote back and sides with birds eye maple bindings. The idea behind the soundport is that it directs the sound towards the player, giving a better sensation of the sound being produced. There is also some theory that the soundport draws air into the body of the guitar and increases projection from the main soundhole. I cannot verify this theory though I can say that this is a powerful sounding guitar, though this may also be in part due to the double laminated sides which are much stiffer than a single side, having the suposed effect of transferring vibrations more directly to the back and thus getting a greater response.

Unusual head design. Also featuring a zero fret. I was a bit dubious about using a zero fret but I´m now converted! All my future instruments will have one unless requested otherwise.  Extremely low and even action and balanced tone whether the string is open or fretted.

12-hole tie block giving a greater angle upto the saddle and also eliminating the need for twisting and knotting the string all over the block. This will also be standard on all my future classical guitars.


2007 Walnut

Walnut body. Spruce top. Elm Burr bindings, rosette and head veneer. 20 fret Ebony fingerboard. African rosewood bridge.

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’07 Model Mandolin


For my ’07 mandolin design, I have increased the overall area of the soundboard into this pear shaped form. The idea is to increase the volume and also enhance the range of tonal response. As you may expect, this design gives a fuller, more rounded sound, while my ’04 & ’05 designs (pictured below) tend to have a more punchy, direct sort of voice.


’07 Model Mandolin 2009 – Rosewood body, Old Sitka Spruce soundboard, Flamed Maple Neck . One feature worth mentioning is the raised fingerboard shown here. This allows even more of the soundboard to vibrate, creating a wider and fuller response.


Tenor Mandola (2005)


Mandolin 2005 – Mahogany and Maple  I often use reclaimed materials for my instruments when I find suitable, well seasoned timber. I found a table leg made from particularly fine, figured mahogany. Being unable to throw it out or burn it, I decided to see if I could turn it into a mandolin. It wasn’t very wide – hence the stripes – yet I still managed to stretch it to the backs, sides, neck and even had a bit left over for the rosette.


  ‘Three Little Mandolins’ 2004 These three mandolins are all built to the same template, though each has slight variations in the materials used and the construction. Each one has its own unique sound and character, like their appearance – distinctively similar, yet distinctly different. The soundboards are of Sitka spruce. Backs and sides of flamed maple from Sherwood forest. Fingerboards and bridges of Brazilian rosewood. Necks of maple, one of flamed mahogany. Head veneers, two of English Yew, one of Elm Burr. Mahogany bindings.


Octave Mandola 2004

(pictures lost)

‘Argentine’ Guitar (2008)

Here’s a guitar I designed after seeing a picture of an Argentinian guitar from the 1940’s.


‘Western’ Parlour Guitar.

  

 


India Guitar

I designed this guitar for a musician in India who required a small bodied instrument for the purposes of travelling the sub-continent. The curves and carving details were inspired by eastern architectural stlye and Indian Rosewood was chosen for the guitar to feel at home in its surroundings. The soundboard is cedar, the fingerboard is ebony with a gentle radius. The bridge is indian rosewood with ebony bridge pins. It is a nylon string guitar.

    

The guitar features twin soundholes in the upper bout, the area of which I calculated is about equal to the area of a traditional round soundole. In addition to these, the fingerboard is raised above the soundboard to allow a greater resonating portion of the soundboard. The internal struts span the entire length of the soundboard giving the guitar poweful projection for such a small bodied instrument.

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Classical Parlour Guitar

 

Spruce soundboard. Silver Oak Lacewood body. Sycamore neck. Scale 640mm.

 

  


2007

Spruce top, 3 piece reclaimed Walnut back, Sycamore neck

   

 

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Torres Model Guitars


2004 Sherwood Forest Sycamore.

(A slightly smaller version of my previous Torres model guitars)

 This is a specially commissioned instrument for a guitarist who, because of back problems, required a small and light guitar with very specific proportions, which I was only too happy to design and build.  The soundboard is Alpine Spruce.Back, sides, bindings and linings – local SycamoreNeck – Spanish CedarFingerboard – EbonyRosette Central motif – Laburnum and Rosewood. Dimensions (mm)Scale length – 64.8 Upper bout – 26.4Waist – 22.2Lower – 35.0Width at nut – 49Depth of neck at nut- 17String spacing at nut – 8.5   


2003 Maple

very unusual figured maple back

The shape of this guitar is modelled on one by the great 19th century Spanish luthier, Antonio de Torres. It is quite a small guitar by modern standards although this does not diminish the sound. If anything, it is more focussed than most larger guitars and is light and easy to handle. The soundboard, again is of Alpine spruce and the back and sides are made from unusually figured, un-bleached maple.

This is the only rosette of its kind

the decorations are all handmade

every aspect of this guitar is unique

As always the rosette is made from natural wood that has not been bleached or dyed. In this case, the triangles are made from English yew wood and the central egg shapes from solid rosewood and various veneers.
As with all my rosette designs, the processes I use are original ones that I developed myself, though often inspired by nature.


2003 – Rosewood

 The back and sides are made from Indian rosewood, the Soundboard is Alpine Spruce and the rosette I made using more traditional ‘mosaic’ style and methods. It’s sound is rich and warm.

rosewood guitar   rose-wood guitar


Torres Model – Padouk

unusual guitar

(pictures lost)

Soprano Ukelele

          

Soundboard: Spruce. Body: London Cherry. Neck: Sherwood Forest Sycamore

Fingerboard, Bridge and Tuning PegsEbony.

Rosewood bindings. Mother of Pearl dots. 375mm scale length. Bone saddle.

French polish finish.

   


Concert Ukelele

  

  • Scale length 388mm. 14th fret to body join.
  • Cypress soundboard, Pau Ferro (Bolivian Rosewood body)
  • Ebony fingerboard, bindings and ornate carved bridge
  • Grover Sta-tite gold friction pegs.


Ganjola!

It´s hard to know what to call it – I wanted to make something with the scale of a tenor mandola that plays like a 4 string banjo and that sounds like nothing else.

            

  • One piece high quality alpine spruce soundboard
  • Internal bracing of 150 year seasoned spruce
  • Back and sides 100 year (at least) seasoned mahogany
  • Neck of sycamore (english maple) from Sherwood forest
  • Ornate carved headstock with non-slip friction tuning pegs for ease of tuning
  • Ornate carved rosette
  • Ebony bindings, fingerboard and bridge
  • Zero fret for low action and balance of tone
  • Angled fingerboard above soundboard to increase responsiveness
  • Unusual hand made tailpiece – engraved brass.
  • French polish finish

This is a very playable instrument with a scale length of 430mm and 4 strings, a very low action, good response and wide range of tonal variation possible. Its sound is bold yet subtle.

I have it strung and tuned as a tenor mandola, though it is possible to vary the string guages and tunings quite widely on this sort of instrument.

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(pictures lost)

‘Vintage’ Blues Guitar (2005)

My design for this guitar was influrnced by the style of American guitars from the first half of the 20th century – The golden age of Jazz and Blues. It’s a small bodied instrument, though with a scale length of 640mm only slightly shorter than most modern guitars (around 650mm).

It has a highly unique sound, quite raw but very soulful, in most part due to the design – thé floating bridge (as found on jazz guitars) the unusual placement of the soundholes (which allow a greater part of the soundboard to respond) and the innovative lattice bracing pattern used. Also adding to the soulful character of the sound is the fact that most of the wood used is recycled, or reborn – the back and sides are made from quarter sawn mahogany recovered from a 100 year old cupboard. The internal struts of the soundboard are excellent spruce salvaged from a 150 year old grand piano.

This guitar is fitted with a twin internal transducer pickup which gives an authentic reproduction of the sound when amplified.

           


Antique finshed Sycamore

                    

 The wood on this guitar, which was made entirely fom local Sherwood Forest sycamore (except for the sounboard which is spruce, and the fingerboard and bridge which are ebony) has been given a highly authentic antique appearance by the application of various organic stains and french polish.

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(pictures lost)

  

W-004 Model

  

W-007 Model


Western-007 Model

New design ‘Western’ guitar for 2007. Larger, deeper body for increased volume and depth.

This guitar features spruce top, mahogany body, English sycamore neck, rosewood fingerboardebony bridge with rosewood pins, rosewood bindings. Adjustable truss rod. Scale length 640mm.


Western-004 Model

This guitar features Alpine Spruce Soundboard, Solid flamed maple back, sides and neck, red padouk bindings and head veneer, carved ebony bridge and fingerboard, unique rosette of fine padouk and ebony inlay. The tuners are Gotoh gold. The scale length is 650mm.



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