My
guitars are not built in a production line and this allows me a great
flexibility to accommodate to different requests and personal needs.
Basically I can use all types of available woods for back and sides
and for the tops. My preference for neck material is Honduran or Brazilian
mahogany even for a maple guitar but maple or alternatively other
types of woods can be used.
All
the used wood is personally selected and the choice is both based
on the tonal characteristics and the appearance. (You would have difficulties
to convince me to use flamed redwood for the top but that is not impossible!)
I can carve the neck to the requested dimensions and profile without
extra charge and the same is true in case of ordering a left-handed
guitar.
I can incorporate individual inlay ideas as far as they suit the style
of my guitars, and there is a wide range of headstock styles I use.
My favourite tuners are Sperzels but this can be changed. I treat
every guitar as an individual design to achieve the required sound
and look.
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SJ
Series.
The guitar with the faces: This
guitar surprises everybody who touches it. Warm, clear, loud
and well balanced sound. Finger style players would appreciate
it because of the quick response of its top but it would perform
well in every situation.
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CS
Series.
The
maple guitar: as the 12th fret neck jointed guitars are becoming
more and more popular I decided to design a classical inspired
shape for that while most of the makers only transform an already
existing 14th fret neck jointed model. The small sized lower
bout would predict a small guitar but because of the increased
upper bout this one does not behave as a really small bodied
guitar. I found that the maple necks often have damping effect
on the sound that is why I used rosewood neck giving brightness
to the higher register.
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CC
Series.
The circle guitar: In spite of many notice
this guitar was not inspired by Mickey Mouse. This is my most
coherent and integrated guitar design: the fingerboard has free
access along the whole length of the neck, the bridge shape
is determined by the bracing. It is connected with every brace
and the enlarged gluing surface behind the string ends ensures
the permanent adhesion to the top. Every brace runs from the
centre of the circle giving an even vibration all over the top…It
has well balanced and very loud sound, which is not as special
as the shape would suggest it. It has a very strong "standard"
guitar sound.
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LA
Series.
An
arch top with black top: I used all of my experience from violinmaking
to carve the top to the best possible resonance ability. The
Maple Bridge and tailpiece contributes better than the heavier
ebony and the bridge design gives a full transmission surface
for the sound along the whole length of the saddle. My main
aim in arch top building is to prove that this sort of guitar
can be at least as multifunctional as the flattops are in different
music and playing styles. The goal is achieved.
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FS
Series.
An arch top with an owl around
the sound hole: The one of the biggest uncharted territories
in arch top guitar building is to experiment different shapes
and use other kind of woods than maple. Approaching the shape
of the circle my idea was alter the sound for lute direction
and yes, this guitar has the most unique sound I have ever built
with a special composition of overtones. Beautifully ringing
high register and dramatic bass approaching to the best classical-like
sound.
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