Rosette

Although solely decorative, I think that the Rosette adds an important element to a guitar’s character. It can be simple or detailed, but it should fit the guitar as a whole without sticking out or being ostentatious. It can add a subtle theme and personality to the guitar.

The Rosette also provides an opportunity to introduce a variety of craft disciplines to the guitar, and the possibilities of experimentation are endless. To date I have been using more traditional marquetry techniques with coloured veneers and other woods, as well as hand engraving in patinated copper, a process inspired by traditional print making. Recently I have been experimenting with one of the oldest photographic processes, Photograms are a unique record of light, shadow and time on photo sensitive paper, with infinite possible variations. The Photograms and engraved copper rings are inlaid with a thin protective layer of epoxy over the top which gives a nice appearance of depth. 

With all the variation possible it can be hard to decide where to begin when commissioning a guitar, which is why I will be updating the ‘Available’ page with Rosettes I have already made. A Rosette can be selected as part of a commission or it can serve as a starting point for a custom design. 

Sides and Structure 

I laminate the sides of each guitar, which is a labour intensive but preferred technique in modern high-end guitar construction for several reasons. Firstly it strengthens and stabilises a part of the guitar which is prone to cracking and often damaged with minor drops and impacts. Lamination also makes an important contribution to the sound by preventing energy from the top and back being lost, isolating them much like the skins of a drum, ensuring that more vibrational energy is retained to produce sound. 

I also add a natural flax fibre fabric designed for use in composite manufacture between the two layers of the side. This greatly increases the strength and stiffness without adding much weight. Laminated with resin in a vacuum press this process produces a very strong, stable and acoustically clear chassis from which to build a guitar. 

The second important element in the structure is the neck block and joint. I use another method often used in modern guitar building, where a larger neck block has a section which runs under the fingerboard where it extends onto the top the guitar. The neck and the end of the fingerboard is then bolted into the guitar body with an extended mortice and tenon joint. In addition to being far stronger than a traditional neck joint it also results in greater contact between the neck and the body, intergrating two components into a single system where energy is moved around more efficiently. With the addition of two carbon-fibre bars and the truss-rod inlayed into the centre of the neck the reinforced upper bout of the guitar is far better equipped to resist the tension of the strings, reducing the future possibility of a neck reset, a common problem with many older guitars.   

Sound and Feel  

Each guitar is made to fit the customers preferences in terms of sound and playability. The choice of materials, scale length, soundboard bracing, neck shape and final set up are made to produce an instrument which is best fitted to the player’s needs. 

The guitar is carefully ‘voiced’ by carving the braces, removing weight and just the right amount of stiffness to produce the most responsive guitar possible. A great deal of time and thought goes into this process with a level of detail which is simply not possible with a factory made guitar. With the strengthening features described above, the top and the back can be more lightly built while ensuring the ultimate longevity of the instrument.  

The acoustic guitar is a very complex system with many variables effecting the final sound and feel so I will always be improving my process and knowledge to make the best instrument.