Posts from ‘News’
We have photos of the next guitar coming to us from luthier Zoran Kuvac, who is based in Bosnia and Herzegovina – his 250th instrument. For this special guitar Kuvac has decided to make a guitar structurally inspired by the great French luthier Dominique Field, though the aesthetics are Kuvac’s own.
We have photos of the next guitar on its way to us from French luthier Bertrand Ligier – a beautiful classical guitars in spruce and CSA rosewood that came from Dominique Field‘s own stash. Here’s what Ligier has to say about the guitar:
“This new guitar features a new body design based on several years of research. After having studied lot of master guitars I decided to inspire my own body from three makers I like and I admire. This new design is inspired from guitars by Paul Fischer, David Rubio, and Simplicio guitars, but with my own and definitive shape. The bracing of the top is also new with seven bars and for this top especially, regarding the specifics of this one in terms of flexibility, a crossed bar under the bridge. I also decided to continue using laminated sides but with mahogany on the inner side for a better addition of sweet timber.”
We have photos of the first guitar on its way to us from Italian luthier Ennio Giovanetti – a gorgeous spruce and CSA rosewood guitar that should be shipping to us very soon. We look forward to welcoming Ennio to the GSI family and will share some audio of the guitar as soon as it arrives.
We have photos of the next guitar on its way to us from English luthier Jake Fuller. The woods used for this guitar have a great story, which Jake tells us in his own words:
“The old spruce is from a violin wedge some I got from a cello maker. The guitars has a four piece top and a three-piece English cherry back. Sounded good from the first strum.
“I was offered a few pieces of this spruce by the violin maker, who was given them by a retired cello/violin maker (now deceased). You can tell it’s old when you work it. The best way to describe it is fossilized. This guitar was made from one of the best wedges. You can see the darkening of the wood at the ends from years of being stored. It must be over 50 years old at least to get to this state. The old spruce wood seems to give the guitars a played-in feel from the beginning.
“The English Cherry came from a local wood dealer who specialises in indigenous hardwoods. It came from a large pile of reclaimed floor boards. It’s one of my favourite woods for the back and sides. Firstly, it’s satisfying to use wood from my country. It’s a wood of medium density, sitting between cypress and rosewood, similar to maple. Unlike maple, which has a dullish tap tone, it has a nice clear ring to it, more like a rosewood. Subsequently it gives the guitar a wider range of qualities, from the warmth of maple, to the presence of rosewood. It also has a wonderful colour with a subtle figure.”
We stopped by the Romero compound in Del Mar, CA and spent some time with Pepe Romero and the Blochinger Pine Guitar, and of course we had to record Pepe playing the guitar itself. Check out Pepe playing Evocación and Tonadilla by Angel Barrios on this magnificent instrument and then discussing the history of the woods with GSI president David Collett. And you can read much more about the guitar and the wood used for the pine top here.
This is the second of two instruments that Edmund Blöchinger built nearly side-by-side, using a flitch set of CSA for the back and sides, but using two different (and equally ancient) tops for each one. A couple of weeks before this instrument arrived, we had received the first of these, his “Dome” guitar with the sister set of back and sides to this pine, which itself has its own incredible back-story that you can read here. But let us turn to this pine-topped instrument, which is an entirely different marvel unto itself also with its own compelling background.
We have two guitars being built for us by the great Sevilla flamenco maker Francisco Barba, so I stopped by the shop when I was in Spain to pay a visit. Francisco wasn’t there that day, but I got to hang out with his sons, Juan and Jose, and see the shop, which is quite spacious and turns out to be the home in which the sons were born, now converted to a shop. Unlike most makers, who make a few guitars at a time, the Barbas work in one large batches that they complete once a year, so that they spend most of each year preparing all the parts they will use to make a year’s worth of guitars. They prepare the woods in winter when the humidity is high, they assemble the guitars in the spring and they finish guitars in the fall.
Aside from the birds, one of the more interesting thing I noticed in the shop was the circular cutouts from the soundholes (see photos) that they keep so that if ever need to make repairs they have wood from the top of the very guitar they are repairing. We have a blanca and a negra coming from them which should be ready shortly.