Apologies, I missed answering this.
Thank you for your very kind comments,martinardo wrote: ↑Sat Jul 29, 2017 11:02 pmYes Alan, I really like the simplicity. The rosette and clean lines, particularly on the back
suggests to me a byzantine feel. I think the idea of sourcing materials from one local area
is a terrific idea (even with all the associated hassle that it might inevitably involve).
I commend you on your truly original creation.
I heard Bouchet cut the top for his first guitar by hand from a shelf board.Michael.N. wrote: ↑Sat Feb 20, 2016 12:55 pmGood decision on the model. You worried about wide grained wood? No fear:
Doesn't sound too bad considering some of that grain must be a heady 4 or 5 grains per inch! So much for master grade tonewood.
Not convinced? How about Bouchet's first guitar:
Difficult to see on that video but take a look at the GSI photo's:
http://www.guitarsalon.com/store/p4893- ... uchet.html
We might be down to 3 or 4 grains per inch!
In any case that type of romantic guitar has a relatively stiff soundboard, nowhere near the flexible nature of the Spanish models. Think of the lute and how all the braces make for a rigid soundboard. I'm pretty sure a reasonably light weight pine (or fir) is suitable and I wouldn't worry too much about a 3 or 4 piece top.
I've used laburnum for a fretboard. It's hard enough providing the player keeps the nails trimmed. You probably know that laburnum starts off a bit green looking but it does turn a fairly dark brown eventually.
Beautiful, I missed in the reading, again what are the back and sides wood? I like all the details too, the headstock joint is great and all it implies and makes a success of.
Hi Alan,Ryeman wrote: ↑Thu Jul 27, 2017 4:04 pmHello Roberto,
I finished the guitar about four months ago, strung it with cheap Classical nylon strings and was immediately surprised by the amount of volume coming from a small bodied instrument. The quality of sound was very nice to my ears, not quite a Classical sound, but it is a Romantic guitar after all, not a Classical. I should say that I am no player, and no expert on the sound of the Classical guitar (nor on how to build them! ) A friend who plays seemed very impressed by it. Then another friend came to stay who is a concert violinist, and has an excellent ear. He played my guitar first with the cheap Classical string, then we re-strung it with Aquilla Ambra900 strings, that people on this forum recommended for a Romantic guitar. He thought these were much better, and said they produced a more refined sound. I could hear quite a difference myself. My violinist friend was actually very complimentary about the sound,so the Larch top isn't a flop. But just how good it is I honestly don't know. I guess I would have to build another Romantic guitar, with back and sides of Ash, like the first one, but use a nice piece of Alpine Spruce for the top; then compare sounds. I might just do that as I have a lovely piece of 45 year old spruce that is too small for a classical size top.
I called the guitar the Ryedale Guitar, because Ryedale is my local area, and all the woods came from here. A friend thought the bone for the nut and saddle should come from a local cow! I am working on this. In the end I used Blackthorn for the pegs, Damson (very similar to Blackthorn) for the bridge, Laburnum for the fingerboard and decorative lines, Ash for the back sides neck and head, and Larch for the top.
A final word on the Larch. It wasn't easy to work. It is quite fibrous, and tears out when being planed. But I got a good finish with a sharp scraper. The Summer growth is much harder than the early growth, making it tricky to cut out the channel for the rosette. But it all worked out ok in the end.
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