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.
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.
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.