Medium sized steel string (390mm lower bout)

  

My favourite style of steel string guitar is the “steel string concert classical”, the ultimate finger-style guitar with volume, projection, sustain, clarity and separation in spades.  Well played, these guitars sound like a small orchestra. 

This is a guitar that is optimised for finger-picking, with a neck width between the normal steel string sizes and the normal classical guitar sizes.  Like all the great finger-picking guitars it has a 12th fret neck join and comes with a cutaway as standard, so that you can still reach all the high notes easily.

This guitar is extraordinarily responsive, producing far more sound than you can ever get out of a standard Dreadnought style guitar using only fingernails.  Both the nut and saddle are compensated using specialised techniques that I have developed, which can be customised to the type of strings and set-up that you prefer.  Consequently it will play in-tune to the equally tempered scale with much greater accuracy than standard guitars.  Until you've heard the difference, you don't know what you're missing, and there's no going back!  All those beautiful jazz chord voicings sound distinctly different, rather than just being vaguely dissonant.  Classical guitarists looking for a different sound will love it.

The tops can be French polished (like the one on the right) or finished with nitrocellulose lacquer.  See the photo gallery for more pictures .

Small bodied steel string (360mm lower bout)

  

The small bodied guitar can be built to suit a number of purposes.  It can be voiced almost identically to the medium bodied guitar and so is well suited to the smaller player seeking that tonality.  Alternatively, it can be voiced at a higher pitch to generate the more typical “middley” projecting tone that blues players tend to favour.  The choice is yours.    

With or without a cutaway, this guitar normally features carbon fibre reinforced falcate bracing for sensitivity and volume, an active back to give additional tone colour and mass loaded sides which contribute significantly to the instrument’s projection.  Both the nut and saddle are compensated.  

If a stage guitar is required using a pick-up rather than a mic, stiffer lattice bracing can be used which helps to keep unwanted acoustic feedback under control.    

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