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ACOUSTIC&CLASSICAL Issue Tree 2012

GUITARBENCH EDITORSNOTE
EDITOR: Terence Tan Thank you for looking over this special issue of
CO-EDITOR: Jessica Pau Guitarbench!
SALES/MARKETING: Jessica Pau
Contributing Writers: Anton Emery We have called this special issue ‘Tree’- because
WEBSITES: guitarbench.com well it’s our 3rd issue and we are featuring a
Our Online Magazine: www.guitarbench.com special Mahogany known was the Tree. This
unique wood is a highly and distinctly figured
true Mahogany first discovered in the 60’s but
The information and advertising set forth herein has only brought to market in the 80’s.
been obtained from sources believed to be accurate. The
publisher, however, does not warrant complete accuracy We will be relating the story of it’s discovery
of such information and assumes no responsibility for any
consequences arising from the use thereof or reliance
and also give you the low down on Honduran
thereon. Publisher reserves the right to reject or cancel any Mahogany, the species it belongs to. Then, we’ll
advertisement or space reservation at any time without be featuring guitars made from this wood.
notice. Publisher shall not be liable for any costs or damages
if for any reason it fails to publish an advertisement. This
publication may not be reproduced, in whole or in part, We’ll still be bringing you tasty interviews-
stored in a retrieval system, or transmitted, in any form or by with luthiers extraordinaire David Wren and
any means, electronic, mechanical, photocopied, recorded, Kris Barnett, along with our usual Knowledge
or otherwise, without the prior written permission of the
publisher. features.

Copyright ©2012. All Rights Reserved. Reproduction in whole We are also evolving as a company and on the
or in part without written permission is prohibited.
following page, will outline these changes.
Issue 2
Published by: T.TAN Terence Tan,
Editor.
Photograph/ Art Work: K. Ryan, T. Tan, A. Emery, T. Klassen, C. Oliver, J. Howlett, K.
Miller, J. Kostal, J. Elliott, R. Eriksson, D. Wren, K. Barnett, J. Oliphant, A. Kimata, R.
Kraut, S. Saville, B. McElroy, T. Shimo, D. Scannell, H. Fleishman, P. Woolson

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CONTENTS
INTERVIEWS
David Wren 52-65
Kris Barnett 66-79
Megan Slankard 80-82

LESSONS
Celtic Guitar Masterclass with Anton
Emery: Celtic Backup 40-44

FEATURES
Guitar Anatomy 6-7
Honduran Mahogany 9-10
The Tree Mahogany 12-13
SPECIAL FEATURE
Kostal Modified Dreadnought 14-22
All instruments Ryan Dragonfly 24-29
featured in
this issue Elliott Steel String Model 30-33
are feature Wells The Atlantic 34-37
highly figured
Mahogany Breedlove OM Revival 38-39
from “The Mauel McCloud 45-48
Tree”
Miller Dreadnought 49-51
Kraut Modified Dreadnought 84-85
Saville Small Jumbo 86-90
McElroy Standard 94
Shimo Sugilite 95
True North Guitar Model 1 96-99
Fleishman 100-102
Woolson Ukulele 103-104

REVIEWS
Little Man 91
Songs About Something 92
Acoustic Bossa Nova 93
KNOWLEDGE
Guitar Anatomy - Headstock
Headstock Veneer:
A decorative and structural
slice of wood layered over the
headstock. Usually a hardwood
such as Ebony or Rosewood.

Headstock Inlay:
Decorative inlaid element over
the headstock veneer. Usually
a contrasting material such as
shell, wood or synthetics.

Tuner post:
Cylinder of hard wearing
material acting as an anchor
for the strings to be wound
& tension applied as the
post is rotated. Usually
made from metal

Headstock Binding:
A decorative and structural
strip of material inset into the
perimeter of the headstock.
Usually a contrasting material.
Glossary of terms (from top to bottom):
KNOWLEDGE

Laminated neck:
A combination of multiple slices
of wood glued with the aim of
providing greater strength and
stability. It is also a more efficient
use of material than a single
piece neck.

Rear veneer:
The back of the headstock is
also where some builder choose
to apply a veneer, known of a
Backstrap or a Rear plate. In
this case, the back is left bare
to highlight the lamination.
The extra veneer on the back
is considered to provide extra
strength to the area,

Tuner button:
Provides grip to work the
tuning machines. Usually a hard
wearing material such as plastic,
wood, bone or shell.

Tuner plate:
The metal slab which is attached
to the headstock. This provides
the post and the gears an anchor
point.

This issue’s model for Guitar

Anatomy is a New Era deluxe
by Tony Klassen. Photos
courtesy of Tony Klassen.
We’ll be featuring this guitar
next issue so stay tuned!
 39 St James’s St Brighton�
Baranik� 01273 671841�
Bashkin� theacousticmusicco.co.uk�
Batson�
Beneteau�
Beardsell�
North American Guitars in the UK�
Berkowitz� Over 50 luthier made guitars - 150 mandolins - from the USA & Canada in stock. Established 2001.�
Brondel� Guitars from £1800 - £25000, mandolins £500 - £13000. Try them out in my playing room.�
Brook�
Charis� Matsuda M1 Custom�
Circa� Italian Spruce/Wenge�
Chasson�
Claxton�
de Jonge�
Doerr�
Fay�
Gallagher�
Galloup�
Greven�
Hamblin�
Hoffman�
How�
Kinnaird�
Klepper�
Kraut�
Laskin�
Leach�
Matsuda�
McKnight�
Osthoff�
Petros�
Schenk�
Schwartz�
Sexauer�
Sheppard�
Somogyi�
Stehr�
Tippin�
Webber�
Wingert�
Woolson�
Wren�
TONEWOOD
Honduran Mahogany
Swietenia Macrophyllia

Quick Facts
Scientific name: Swietenia macrophyllia
Trade names: Mahogany, Honduran
Mahogany
Janka: 800 approx.
Uses: Back and sides. veneer
Bling factor: Chatayonace and curl is
uncommon
Availability: Good
CITES status: Listed in appendix II.
A Mahogany guitar Natural History
from Chris Oliver of
Infinity Luthiers. This
set displays a brilliant Honduran Mahogany has a native range from south
Chatayonace and curl Mexico to the upper Amazon in Peru, Bolivia, and
figure. Chris has kindly
made available us the
Brazil. It grows to 45 metres tall, 2 metres in truncal
photos in this article. diameter.

Status

Honduran mahogany is currently threatened due to

habit loss and over logging. However, well established
plantations exist in its natural range and abroad.

Physical properties

Honduran Mahogany is pinkish to yellowish when fresh

oxidising to deep rich red or brown with distinct yellow-
white sapwood. It is easy to work with hand or machine
tools and takes a excellent polish. It is seen in various
figures, with curl, quilt and wavy grain.

Basic specific gravity (oven dry weight/green volume)

0.40 to 0.68; air- dry density 30 to 52 pcf. Janka side
hardness 740 lb for green material and 800 lb for dry.

As a tonewood…

Honduran mahogany has a long history as a tonewood

for necks as well as tops and back & sides. With it’s easy
workability and ability to take a beautiful finish, it is a
popular tonewood for small and major manufacturers.
Dana Bourgeois puts it best:

“Where rosewood guitars can be thought of as having a “metallic” sound, mahogany ….guitars are
better described as sounding “woody, although the harder, more dense examples … can take on
some of the characteristics of the rosewoods.”

Availability

Plantations should ensure supply for the near future, although old growth timber is now on the
CITES appendix 2 and trade is now limited.
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TONEWOOD
The Tree Mahogany
Swientia Macrophyllia

The Maya Forest is a lowland tropical rain forest boasting 375 plant species found nowhere else on
earth. It stretches from the Caribbean coast of Mexico, through Belize and into Honduras and the
Peten region of Guatemala.

In 1965, within the heart of this jungle, a group of loggers came across an exceptional mahogany
tree. Measuring 10 ft wide at the mid-trunk and 50 at the base, it had a spiralled back. This was a sign
the wood could be highly figured. The loggers camped at the base of the giant and felled it with axes.
But they were robbed of their prize by fate. On the way down, the tree twisted and landed in a steep
ravine. Two D7 tractors were brought in to extricate the fallen tree, but to no avail.

So there it lay until 1971 when a sawmill owner called Robert Novak heard of the giant figured
mahogany tree. In 1983, after some searching, he found the log. The tree was halved then quartered
with the resulting eight pieces were dragged, carried and floated for 200 miles to a steam powered
bandsaw mill.

Novak outbid several veneer manufacturers to saw the logs into timber. The cutting operation lasted
12 days and yielded 12,000 board feet of lumber of which one third was a blister/quilt figure, another
third had a waxy quilt figure and the remaining length, a combination of the two. This wood was air
dried to 35% on site then kiln dried in Miami. Half the shipment was sold direct from Miami and the
other through Handloggers Hardwood in California
A lot of interest was generated through Mark Berry’s article in the September/ October 1985 issue
of Fine Woodworking. Mark, now a noted Classical and Flamenco luthier, had purchased wood for
several projects during his time in a woodworking firm.

Today, boards of this striking tonewood continue to be sawn and used by firms & luthiers such as
Breedlove guitars, R Taylor Guitars, Brock Poling and Ken Miller. Miller has worked several sets of
the tree mahogany says “it’s more brown than red and is denser and stiffer than usual for mahogany.
It sounds closer to rosewood than mahogany.”

This Issue of Guitarbench is dedicated to this remarkable tree. It is our hope that the beautiful
instruments made from this natural wonder can bring greater awareness to the plight of it’s
descendents. Together, we can ensure sustainable, healthy forests.

Opposite: A board from the Tree.

This page: End wedge of a Ken Miller
dreadnought.
Photos courtesy of J. Howlett and K.
Miller.
FEATURE
Luthier: Jason Kostal
Modified Dreadnought
Specs
Base Model: Modified
Dreadnought(OM)
Backstrip: Ebony
Top Braces: Sitka Spruce
Back Braces: Mahogany
Back Headcap Veneer: Ebony
Fingerboard: Ebony w/Ebony
Binding
Fingerboard Radius: 20"
Body Joint: 14 Fret
Scale Length: 25.25"
Nut Width: 13/4"
String Spacing at Saddle: 21/4"
Finish: Nitrocellulose Lacquer
Bridge: Sculpted Ebony
Soundboard: German Spruce
Neck: One Piece Honduran Mahogany
Back and Sides: Quilted “Tree” Mahogany
Rosette: Stained Glass
End Graft: Decorative
Tapered Body: Manzer style wedge
Headcap Veneer: Two tone
Cutaway: Florentine
Nut: Fossilized Mammoth Ivory
Saddle: Fossilized Mammoth Ivory
Tuners: Gotoh 510 Gold/Ebony
Side Position Markers: Kostal Dots
Electronics: K&K Trinity
Photos courtesy of J. Kostal
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FEATURE
Luthier: Kevin Ryan
Dragonfly
Specs
Base Model: Nightingale
Top Braces: Sitka Spruce
Fingerboard: Ebony
Body Joint: 14 Fret
Bridge: Sculpted Ebony
Soundboard: Rare Flamed Engelmann Spruce
Neck: Honduran Mahogany
Back and Sides: Quilted “Tree” Mahogany
Dragonfly Inlays
Photos courtesy of K. Ryan
FEATURE
Luthier: Jeffrey Elliott
Steel String Model
Specs
Top: European spruce
Back & Sides: “Tree” mahogany
Rosette: Chip carved rosette with
Amboyna burl central inlay ring, with
blue-green abalone and brass inlay
accents
Head veneer: Amboyna burl
End wedge: Amboyna burl
Binding: Bloodwood
Tuners: David Rodgers custom tuners
Neck: One-piece Honduras mahogany
Cutaway: Compound
Bracing: Hybrid “X”-and-fan bracing
design
Bridge: Pinless Brazilian rosewood
Fingerboard: Ebony
Photos courtesy of J. Elliott
FEATURE
Luthier: Sylvan Wells
The Tree
Owner of this guitar, Richard
Eriksson says:

“The mold he uses for this body size

is called “The Atlantic”, however we
simply refer to it as “The Tree”.

Sylvan made three guitars from

wood from the “Tree”. He was
commissioned to build the first one
by a customer who had somehow
acquired a board from the “Tree”.

Sylvan negotiated the building of the

customer’s guitar on the condition
that the customer supplied the wood
for two additional guitars.

Sylvan is keeping the second guitar

he built and I own the third ...”

Photos courtesy of R. Eriksson

The top is an even grained
Adirondack Red Spruce and the
model is based around a
25.5" scale length with a
16.25" lower bout and 4" depth.
FEATURE
Luthiers: Breedlove Guitars
OM Revival Deluxe
 This is a Breedlove OM Revival Deluxe serial number
11119. It features Breedlove’s own Pre-war bracing and
combines a Moon Spruce Top with the Tree mahogany.

Appointed with classic snowflake fingerboard markings

and tortoiseshell binding with herringbone purfling, it
recalls the OMs of old with a modern twist.

Photos courtesy of J. Howlett

Celtic Guitar Masterclass with Anton Emery
Celtic Backup

Welcome to the first instalment of the Celtic Guitar Masterclass here at Guitarbench.
This month, we are going to look at topic very near and dear to my heart, Celtic backup.
When playing rhythm the guitar plays a secondary role, accompanying a melody
player. This is usually with a flatpick, but a hybrid pick and fingers approach, or even
fingerpicking, are sometimes used. You will want to refer to the pdf sheet music to follow
along with the chords. The sheet music is at the end of the article.

There are many different ways to back up Celtic tunes, and no one way is absolutely
correct. In the end it comes down to supporting the melody player. Listen to how the
melody player drives the tune, where the rhythmic accents are, and try to emphasize
those with your rhythm playing. Playing with a good backer feels effortless, like the music
is just floating along. Playing with someone that does not understand the lilt and rhythm
of the music makes it very difficult for the melody players.

There are a variety of tunings to choose from when backing Celtic music, and these vary
from player to player. Rhythmic powerhouse John Doyle is best known for his propulsive
work in Drop D. Daithi Sproule of Altan used DADGAD almost exclusively. Dennis
Cahill uses Standard tuning to employ his jazzy and understated style. Ged Foley uses
CGCGCD, often with a capo at the second fret.

I like to use CGDGCD, or the Orkney tuning, which is very similar. To me, the open
tunings create a more droning approach, while with standard its easier to find jazzy
voicings. I do not think any one tuning is better than another, it just depends on the
sound you are looking for.
The format is the opposite of bluegrass, where
the chords are fixed and the melody is open to
interpretation. In Celtic music, the melody is
generally fixed and the chordal players are free
to harmonize the tune as they see fit.
As a rhythm player you can take a very
conservative approach, utilizing just the
obvious chords, or it can get much farther
out, using different choices each time through
the tune. Let your ear be the judge, and be
sensitive to what the melody players want.
I generally like to use a fairly thin pick, usually
1mm or less. When I play rhythm I am usually
trying to hit all the strings at once, and want
a little more zing and presence to my attack.
I will often some sort of palm muting on the
bass strings.
It’s different from bluegrass or other types of
rhythm playing where you are doing more of
a bass and then strum approach. There are
exceptions of course, but when most folks
backup Celtic music they are hitting all or a
majority of the strings together.
So let’s go ahead and look at the tune, The
Mountain Road. It’s a simple reel in the key
of D, and is a good place to start with rhythm
playing. You can use simple chords, or more
complex variations, as we will see in later
articles. We will look at some chord choices,
and also rhythmic considerations with the
strumming hand.
First, you must know the key of the tune. If it’s
not a tune you know, the best bet is to quietly
drone on a bass string note until you find the
key. Celtic tunes are usually fairly straight
forward, and often in the key of D, G, Em, or
Am. Once you have found the key of the tune,
even just droning on the root chord can be
effective, while you listen and try to figure out
the other chords. Sure, it may not be the most
exciting thing, but at least it works with the
tune, and later on you can expand what you are
playing.
Major key tunes like the Mountain Road often
revolve around a I, IV, V chord change, or the
“three chord trick” as I have heard it called. In
the key of D, that gives us chords D, G, and A.
I will use the Orkney tuning with a capo at the
second fret. Folks can use that, or transfer these
ideas to their tuning of choice. Here are our
chord voicings:
Remember these are all with a capo at the
second fret. I tend to play modal chords a lot of
the time, leaving out the third. The D chord is
a nice big one, letting you strum across all the The Mountain Road uses the D, G, and A
strings. For the G chord we are just using the chords where indicated. In the B part, I have
three bass strings. I like to employ some palm chosen to start it with a B minor, which
muting on this one, and try to keep a relatively darkens things up a bit. That is probably the
light fretting hand touch, or else the strings most common chord substitution in Celtic
seem to go sharp. The A is music, using the relative
another nice big chord, just minor in place of the I
make sure not to hit the 6th “Celtic music is dance chord, in this case, a B
string. The B minor is an minor instead of a D.
easy chord, leaving the 1st music, and at its core,
and 6th strings. Technically rhythm is the most Celtic music is dance
I think its a Bm7 chord, but music, and at its core,
it works well in this context. important thing. ” rhythm is the most
All in all those chords are important thing. As the
pretty easy, and I don’t guitarist you need to keep
think they will pose any trouble for folks. rhythm above all else. The best way is to
For now I am keeping the chordal choices to listen to a lot of good rhythm players, and
those four, though feel free to experiment. A try to emulate and absorb what they do. It is
good way to do this is to list the chords for hard within the context of a written article to
a given key, and just try them all in various describe right hand strumming patterns.
places. Your ear will tell you what works. For
the key of D we have: One thing I try to do is listen where the
melody is accenting the beat, and try to
D, Em, F#min, G, A, Bm, and C#dim. emphasize that with my strumming. I am
also strumming on other beats, but generally
I will often play the F#min as a D, with an F# it is with a lighter up/down motion. Take a
in the bass, and the C#dim as an A, with a C# listen to the flute and guitar tracks to hear
in the bass. an example. Two patterns I like to start my
students off with are below.
On the first one you are strumming down on the beat, and up on the “and” of the beat. On the
second one you are dropping the “and” of beat one. These two strumming patterns usually get
my students going, and then from there we tackle it on a tune by tune basis. This technique is
something you learn more by listening and doing.

Putting it all together take a look at the sheet music and indicated chords, and listen to the slow
and faster mp3 of flute and guitar. Try to especially pay attention to where I accent the rhythm
on flute and how the guitar emphasizes it.

Playing Celtic backup in a hot session where the music is just flowing is such a great feeling. You
are providing a solid rhythmic foundation for the melody player(s), and get to contribute your
own chord substitutions and variety to spice things up. Practice these techniques on some of
your favourite tunes, and next month we will take a look at some more variations, chordal sub-
stitutions, and techniques.

“There are many different

ways to back up Celtic
tunes, and no one way is
absolutely correct.”
 Mountain Road Trad Arr. Anton Emery

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Anton Emery lives

in Portland, Oregon
and can be reached at:
celticfingerstyleguitar.com
or by clicking on the image
of his latest CD to the right!

Copyright © Anton Emery

Photos courtesy of A. Emery

FEATURE
Luthier: Hank Mauel
McCloud
Hank Mauel, the luthier behind this guitar says:

“This is guitar serial #128, completed August 2009. This is unique in that it features the “Voyage
Air” folding neck joint as developed by my good friend and fellow luthier, Harvey Leach. As such, it
represents probably the world’s “most unique travel guitar”. During construction, a sound port was
added per discussions with the
customer.

Owner has added titanium bridge

pins since delivery. Cutoff scraps
of the Tree mahogany were saved
from the back and bookmatched
for headstock and end cap veneers.
The “folding neck” giveaway is the
“captured” string nut, zero fret and
truss rod cover on the headstock
as well as the cut line on the neck
heel.

It currently resides in California in

the possession of "an uncommonly
excellent gentleman of most
particular and exacting taste"

Specs
Body: McCloud 4.25” body depth
Back Wood: The Tree Mahogany
Top Wood: Port Orford Cedar
Rosette: Green abalone
Cutaway: Venetian
Binding: Cocobolo
Top Border: Ebony/cherry/ebony multiples.
Nut Width: 1.75”
Neck Shape: Mauel w/VoyageAir hinge
Fingerboard: Ebony
Headstock: The Tree mahogany overlay
Bridge: Ebony 2.25” string space
Tuners: Gotoh gold w/ebony
Nut/Saddle: Fossilized ivory saddle only
End Graft: Flamed koa
Bridge Pins: Fossilized ivory
Electronics: K&K passive
Case: Hard Shell & VoyageAir bag

Photos courtesy of H. Mauel

FEATURE
Luthier: Ken Miller
Dreadnought
Luthier Ken Miller says of this guitar:
“The guitar pictured with the Tree back & sides is a Dreadnought shape, 14 frets to the body. It has
an Adirondack (Red) Spruce face with full bearclaw figure to match the back & sides. The bridge,
peghead overlay, trim and bindings are of Brazilian Rosewood with red accents. It is completed with
Ivory nut and saddle, Celluloid pickguard, Waverly tuners and our Varnish finish. This guitar has no
inlay, is very plain, as the Wood provides all of the decoration that is needed.”

Photoss courtesy of K. Miller

T H E I N T E R V I E W:
DAVID WREN
Thanks for talking to us David, I first wanted to congratulate you on returning to lutherie. May-
be we can start with how you got into guitar building in the first place?

Thanks Terence! How did I get into building? Well, I had played guitar since public school and in
high school became more involved in art … painting, sculpting etc … so when my father saw Irving
Sloane’s book on guitar building, he thought it might fit my interests. I can distinctly remember just
being dumbstruck when I realized that a person could actually build an instrument. Guitars were
built by huge companies like Gibson and Kent as far as I was concerned (this was the late ‘60s and I
hadn’t even heard of Martin at the time). The thought that an individual could fabricate a guitar was
a real revelation! This was of course pre-internet and I had never even
heard the term “luthier”. “I have absolutely
Shortly after receiving the Sloane book, I discovered a night school no idea what Jean
course in guitar building being held at a nearby high school. I signed
up and volunteered to try and source out the woods that we would saw in me that
need. Through the Toronto Folklore Centre I found out that there was a made him think I
professional builder in town by the name of Jean-Claude Larrivee.
was up to the task.”
This would have been in the early ‘70s when Jean had a shop on
Bridgman Ave, with Jim Hale (formerly of Mossman), and apprentices
Grit Laskin and Sergei de Jonge. When I went to pick out the wood, I only have vague memories of
a friendly guy with really long hair pointing at a stack of wood and saying “no problem, pick some
wood out and we’ll work something out”. That was my first contact with the man who would teach
me everything I know about guitar building.

Opposite: A completed Wren Concert model sits on the workbench

Above: Signature Wren inlay

Photos courtesy of D. Wren

It wasn’t until a year later that I worked up
the courage to approach Jean and ask for an
apprenticeship with him. I have absolutely no
idea what Jean saw in me that made him think I
was up to the task.
I remember the very first thing he asked me
to do was “set up the bandsaw fence to 4
centimetres”. Well, I think I figured out what
the bandsaw was, but I had no idea what a fence
was and at that time I hadn’t been exposed to the
metric system of measurement.
To top it off … I was too stupid to admit these
things to Jean, so I just walked over to the
saw and started fiddling with it. He finally
came over, gave me a strange look and set
it up himself. That was the start of the most
important learning curve in my life.
Jean was always very open and free with his
vast knowledge of lutherie and was absolutely
fantastic to have as a mentor.
My early apprenticeship took place in a little
storefront on Mt Pleasant Blvd in Toronto, just
after Jean had married Wendy (they lived in the
back of the shop). Grit Laskin was still with Jean
at that point. After Grit went out on his own,
we moved to a larger space on Portland St. in
downtown Toronto.
The last Toronto shop was on Dwight Ave, and
that was where people like Linda Manzer, Tony
Duggan-Smith and George Gray started their
apprenticeships. Good times! There’s still not a
day goes by that I don’t thank my lucky stars that
Jean took me under his wing!
Would it fair to say that your base is mainly
Larrivee or have you also other influences
from the start?
Definitely my influence at the start was ALL
Larrivee and he is still my main influence for
sure. Before I met Jean, the best acoustic guitar
I'd played was a Gibson LG-0 with a mahogany
top and a hollow plastic bridge. The first time I
played a Larrivee I simply couldn't believe that
a guitar could sound that amazing. I still think
that about his guitars for that matter!
My years in music retail exposed me to quite a
variety of vintage and new acoustic guitars. That
experience has definitely added a new dimen-
sion to my building.
“Definitely my
influence at the
start was ALL
Larrivee”
I’m currently offering what I think of as a mod-
ern style of instrument, as well as a couple that
have a funkier vintage aesthetic ... a reflection of
some of my more recent influences. My Remuda
and NL-1 models often feature rope or check-
ered marquetry and other appointments that are
reminiscent of ‘20s and ‘30s style guitars.
Recently I built a guitar up at my friend Ser-
gei de Jonge’s shop in Chelsea Quebec and was
incredibly impressed with his methods. I’ve
always absolutely LOVED his instruments and
I can definitely see how he has influenced my
building. There are so many amazing builders
out there with creative ideas and with the inter-
net, it is so easy to keep up with the latest inno-
vations. It’s a very exciting time to be building
guitars!
Opposite: Wrens’ signature asymmetrical bridge
Above: Spalted Maple Rosette and side
Back when you were with Jean, it looks like
the woods were predominantly sitka and
Indian rosewood- but now I take it that
your tonewood repertoire is wider?
When I was with Jean, we were building
steel strings almost exclusively with German
spruce and Indian rosewood, although Jean
would occasionally bring out the Brazilian
rosewood for clients like Bruce Cockburn.
We did use Western Red cedar occasionally
for tops as well. Jean never used Sitka in the
Toronto years though.
You're right though ... I think every builder's
tonewood options cover quite a bit more ter-
ritory these days. I've got a great stash of not
only Sitka (the most underrated topwood in the
world!) and bearclaw Sitka but also some stun-
ning Lutz, Alpine, Adirondack, Engelmann and
European spruces. I also stock Western Red
cedar and redwood tops, which in my opinion
make great sounding steel strings. All of these
species bring different sonic qualities to the table
of course.
When I was first building instruments back in I think that the wider acceptance of "alterna-
the seventies, mahogany and rosewood were tive" tonewoods by guitar players gives the lu-
the only woods that had gained any accept- thier a wider palette of tone colours to chose
ance by players when it came to back and from when designing an instrument and ends
sides. I absolutely love what both of these up creating a more unique one-of-a-kind
species bring to the table ... but it is wonderful guitar ... I love it!!!
that people are so much more open to other
tonewoods today. I'm currently offering
Indian, Madagascar and Brazilian rosewood,
tropical mahogany, pomelle quilted Sapele,
Cocobolo, spalted Mango, Oregon Myrtle
and figured Hawaiian Koa as back and sides
choices.

A 12 string Koa concert. The signature Wren inlay is at the 5th fret.
Would you be able to briefly give us a run of
the unique tonal properties of the various
topwoods you use?

I’ll qualify my answer by saying that I really

believe that different builders bring different
sonic characteristics out of the various
tonewoods. My answers of course reflect what
I have found over the years with regards to my
own instruments.

For starters, the qualities I look for in any

species of top wood are, absence of lengthwise
grain runoff, quarter sawn grain orientation,
even grain count, attractive colour and brilliant
displays of medullary rays. Having said that, all
builders have utilized tops that don’t display the
textbook characteristics of “the perfect top” …
because some wood that falls short from a visual
standpoint, exhibits physical attributes that are
hard to ignore … excellent stiffness both with
and across the grain, and a responsive tap tone.

I guess what I’m saying is that a lot of builders

today have the courage to utilize wood,
especially with species like Adirondack and
European spruce that are getting more difficult
to procure, that falls slightly short of the perfect
looking top. The bottom line is, if a piece of
wood has the right strength-to-weight ratio and
a strong lively tap tone, I think a builder should
consider using it!

In general terms, I tend to think largely in terms

of midrange and overall warmth when it comes
to top woods. With spruces, I find that Sitka
has the thickest midrange and warmest overall
tonality, with a very solid note fundamental
and can be manipulated to have a great multi-
layered set of partials as well. Sitka is also able to
produce a very wide dynamic range … probably
one of the best species for this characteristic.

Lutz is a naturally occurring hybrid of Sitka and

either White or Engelmann spruce, and it tends
to share sonic characteristics shared by these
species. It seems to lend a very similar girth to
the note fundamental as Sitka, but with an ever
so slightly scooped lower midrange and perhaps
a bit more sizzle in the overtone series.
The Alpine spruce that I’ve been using lately has
a very similar tone to Engelmann, in that has an
overall more “silvery” tonality (as to the overall
“golden” tonality of Sitka), which some players
hear as an increased clarity and overall chime.
Both Engelmann and Alpine can tend to be
very responsive to a light right hand attack and
if strutted and voiced properly, will also handle
very aggressive playing as well. Both of these
tonewoods feature an extremely effervescent
overtone series that I find really engaging.

European (German, Czech) spruce is again,

very “silvery” in its overall tonality … often even
slightly more so than Alpine and Engelmann.
The European that I’ve been using in recent years
has a very good strength-to-weight ratio, light
but stiff. European can take a few months to
start really start opening up, but some players
find the immediacy of response and crisp snappy
attack.

I’m one of those builders who also like Western

Red cedar and Redwood as top plates for steel
string guitars. One of the first commissions
I received back in the mid ‘70s was a cedar/
Brazilian instrument for Bill Garrett. I’ve heard
that instrument over thirty years later and I’m
still very happy with the tone and response from
that guitar. The cedar has held up extremely well
over the years.

I really like using cedar for players with a light

to moderate right hand attack … it really has a
lot of tonal nuances if it isn’t driven too hard. It
also has just the most incredible combination
of sparkle in the upper mids and high end with
a nice edge to the attack transient … but a
warm overall glow to the sound … an unusual
combination but it really works for my ears.
Redwood can be similar, but the tops I have are
really high grade and really lend extra sizzle in
the partials.

Of course even the tops that are at the crisp

and sparkle end of the tone spectrum gain
some midrange and warm up with time and
playing. When I hear guitars that I made thirty
years ago with German spruce tops, they sound
considerably darker than when new.
 A concert model with Bearclaw Sitka Spruce top and Brazilian rose-
wood back and sides.

David, when you speak of Alpine spruce, you are referring to European spruce?

When I said European spruce, I should have specified German or Czech spruce ... as opposed to
Alpine spruce (found in the upper elevations of the Alps) or as opposed to Italian spruce (found in the
lower elevations of the Apennine mountains). I find that the late-summer growth rings on German
or Czech spruce to be quite prominent, which I think adds substantially to the cross-grain stiffness.
The Alpine spruce that I’ve been getting has a slightly less prominent late-summer growth ring, which
seems to make the top slightly lighter weight for the same deflection.
There's a move towards figured woods these days - even figured tops. I understand some folks
like bearclaw figure in their tops- how about yourself?

I've grown to like the look of bearclaw figure. I remember Jean Larrivee showing me a top that
Edgar Monch had given him before he moved back to Germany in the early '70s. It was absolutely
riddled with bearclaws and Edgar considered it a very special top. He told Jean to make a guitar for
his son with it. At the time I remember thinking that it just looked weird, but I quite like the look
now.

Some builders feel that tops with bearclaw figure have a better stiffness-to-weight ratio, but it's hard
to generalize like that. I know that some suppliers resaw their bearclaw spruce slightly off the quarter
because it shows off the figure better. This of course reduces cross grain stiffness though. Honestly,
when it comes to judging a piece of topwood purely for responsiveness, I just close my eyes, flex it,
tap it, scratch it ... and make a judgement based on my 37 years experience. I don't think about what
the species is, or how much figure there is at that point. As a builder, you really have to develop that
visceral connection with your wood.

“As a builder, you

really have to
develop that visceral
connection with your
wood.”

And how about that wildly figured Brazilian rosewood we've been seeing recently?

The wilder looking Brazilian is possibly a result of the fact that even the old stumps of trees are being
harvested and resawn into back and side sets. I've seen quotes from a few builders that indicate
that this wood is also inferior sounding, but that hasn't been my experience. I've still got some
old-growth quartersawn Brazilian, as well as some that was cut in this decade that is figured, and
the tap tones from both examples are exceptional. I've had great results from both quartered and
figured Brazilian. I'm quite discouraged from the stories coming out of both South America and
Madagascar with regards to the uncontrolled harvesting of hardwoods, and won't be buying any
more Brazilian or Madagascar rosewood though.

With regards to finishes, I understand you’re using French Polish exclusively these days?

Yes, I’m using shellac applied with the French Polish method exclusively these days. Sergei and
Joshia de Jonge are the masters of this technique and they graciously taught me not only their
methodology, but gave me their recipe for making the shellac as well. This involves dissolving shellac
flakes and three different resins in pure alcohol and then boiling the mixture three separate times.
This makes the shellac last almost indefinitely (just dissolving shellac in alcohol gives a solution with
a shelf life of around 6 months) as well as making the final finish more durable. French Polishing
takes around three times longer than a standard nitro lacquer finish, but the gains in response from
the finished instrument make it very worth while. This finish can be applied in such a thin film that
there is almost zero damping factor ... allowing the guitar to realize its full potential.

I see. I understand you've offering a few
models, would you like to give us a run down
of your current line up and maybe the tonal
qualities you are aiming for?
Probably the most popular model is still the
Concert. This is being built out of the same
mould that I made thirty-five years ago but is a
much different instrument today. This model
has a full 16" lower bout dimension but with a
tight waist and small upper bout that makes it
feel more compact when you hold it (especially
when the Manzer Wedge is added). This guitar
has possibly the most prominent bass response
of my guitars, but is still very balanced with
regards to bass/mid/treble projection.
With all that I've learned over the last thirty-
five years, plus the addition of the side port and
a thin French Polish finish, the new Concert
has really come into its own. The model that is
really starting to get my clientele excited is the
Remuda. I designed the aesthetics of this one
with a retro/vintage sort of vibe, but the sound
is very modern, with lots of girth on the note
fundamental but with many overtone layers and
again, a very even overall tonality.
Another concert model, this time in Indian Rosewood
The third model currently, is the little NL-1
... which has turned out to be an ideal little
recording instrument. My friend Michael
Francis (who has probably done more recording
dates than any other guitar player in Canada)
has one on order. That little instrument really
does like a microphone! I've also got plans (and
orders) for a slope shouldered dreadnought.
And how about those sound ports?
The first soundport that I ever saw or heard of,
was by Sergei de Jonge and I have to say that
in my opinion it is the single most important
design element to have emerged in my career.
Not only does it throw significantly more sound
up at the player, but if designed properly, it
doesn’t seem to diminish the forward projection
of the instrument at all. Not only that, it gives
the builder more flexibility to fine tune the main
air resonance (ie. by cutting the appropriate
sized side port after the box is closed). I have
heard some side ports that had very little
positive affect on the instrument, but others that
really greatly improve the overall response of
the guitar.
I see, so you can actually influence the tone
of the guitar once the box is in place by
placement and size of the soundhole? How is
that done?
Any enclosure or container has a main "air"
resonant frequency. If you blow over the mouth
of an empty juice bottle, you'll hear a note. If
you partially fill the juice bottle with water
(reducing it's internal air volume), that note
raises in pitch. The other element that affects the
internal air resonant frequency is the size of the
aperture (or apertures).
Once the top and back are glued on to the sides
of the guitar box, you can determine the main air
resonant frequency, and then with experience,
add the appropriate sized side port to achieve the
air note that you are after.
You would think that with a certain model
of guitar, the internal air volume would be a
constant and always be the same, but all of the
resonant frequencies are "coupled" and interact
with each other. For example, if you utilize a
very stiff redwood top to colour the tone for a
specific player, its tap tone could well be higher
than a Sitka top, which would drag the air
frequency up in pitch.
Ziricote back with landscape figuring.
The full view of that figured Ziricote back.
Just sticking with soundports for the moment-
does the shape of the soundport affect the
tonal qualities it imparts? Also I have noticed
that not all sound ports are equal- some have
a Tornavoz like cylinder others are simply, a
hole....
Different builders seem to bring different
things to the table when it comes to side ports.
Personally, I don't get my best sound with a
segmented port (ie several holes creating a
design, or a simple louvred concept), but I know
other builders who have had success with that
type of aperture. For my instruments, the oval is
by far the most effective.
If I had to quantify it, I'd say that I get an
extra 5% of apparent volume from the player's
standpoint, with no loss of frontal projection.
I see I see. I know Al Carruth has done a bit
of research into matching the mode of the
neck with the body resonance- is it a similar
concept?
It's a similar concept just in the fact that it is
important to think of the guitar as a "system"
whose components are "coupled" or affected
by each other. The trap that you don't want
to fall into is to start thinking of the different
components of the instrument as separate
entities.
 Thanks for explaining that, David. I was wondering if you had
much thoughts into bridge material which is split into the bony/
rosewood camps?

I'm afraid I'm quite unscientific when it comes to determining what

bridge material to use on a specific model. Generally speaking,
ebony will have considerably more mass than rosewood and bring the
resonant frequencies down a bit more when glued to the top ... but
for me it all just boils down to trying both and going with the wood I
like the sound of the best ... it's as simple as that for me.

I've noticed you offer just a few models now compared to some
dreads and jumbos and parlors in the past- is that an evolution of
your building?

I actually offer three models, the 16" Concert model that I've made
for thirty-five years, the new 15 1/4" Remuda model, and the little
13 3/4" NL-1. I was going to expand the line from that, but within a
few weeks of re-launching my guitar building career, I received orders
for these three models that will take me two years or more to deliver!
I do actually have an order for a small 12 fret parlor like the one I
made Joan Baez, and for a slope shouldered dreadnought. I still have
my old square shouldered dreadnought mold as well as a couple of
jumbos and Orchestra Model shapes. I'm starting to leave some spots
in my build schedule so that I can have some fun with different body
styles.

“As corny as it sounds, every guitar I

make seems exciting to me.”

And to what extent do you think the body shape/size has on the tone?

Between extremes like my 13" NL-1 model and my 16" Concert, there is a huge difference in the
bass-mid-treble balance, as well as an overall power difference ... and I also hear it quite dramatically
in the midrange response. I also find, and this is yet another generality that should be taken with a
grain of salt, that guitars with tighter waists have a more complex overall tonality which sometimes,
if not often, manifests itself in the prominence of the overtone component.

Thanks for that David! I was wondering before we let you go if you had anything exciting on the
horizon ?

As corny as it sounds, every guitar I make seems exciting to me. It seems that all of my customers
want something quite different which really helps keep things fresh for me. I’ll be developing a slope
shoulder dreadnought for a commission and re-visiting the guitar I made for Joan Baez on request
from another customer ... it’s all exciting for me at this point!
T H E I N T E R V I E W:
K R I S B A R N E T T

Keith Calmes turned us onto Kris Barnett who

has been quietly making waves in the Classical
community for his innovative ideas and unusual
construction techniques. We are really fortunate to
have Kris taking the time out from his building to
speak to us.

Photos courtesy of K. Barnett

Thank you for taking the time to speak to us,
Kris. To start off, I was wondering if you could
maybe relate to us how you got started in
lutherie?
Lutherie was a very natural and almost certain
progression for me. I have played guitar since
I was a child and it is the one hobby that has
endured for all of these years. The guitar has
always intrigued me. The sound is very alluring
and almost enchanting. It is weird because I
always knew I was going to build at least one
guitar in my life, but I never dreamed it would be
my life’s work or that I would embark at such an
early age.
I had it in my head that I was going to build my
first guitar in retirement, after my career as a
mental health therapist came to an end. I have
always enjoyed building things, taking stuff
apart, working with my hands, and I have always
been very inquisitive about how and why things
work the way they do.
My first building experience was at a short
seminar in which a very well known luthier
quickly went over some processes he uses for his
own guitars.
This was definitely the motivation I needed to get
things moving. I practiced building for several
years part time and have moved to full time for
the past 2 years or so. I have never worked in a
guitar shop and have never really done repairs.
I am completely self taught which definitely has
its pros and cons. I had to reinvent the wheel
many times I’m sure, but I learned a lot through
the process of trial and error and was very free to
find my own way.
I am sure the process would have been much
smoother if I had previous woodworking
experience or if someone could have shown me
techniques that I was having problems with early
on. It was definitely very challenging at first, as
can be attested by my earlier instruments, but I
am improving on each and every instrument and
constantly experimenting with new ideas.
I have to say that I noticed a few unusual
construction techniques you use- es-
pecially for nylon strings… maybe you
could let us in on your build philoso-
phies and comment on the tailpieces and
sound ports….

My main focus for the instruments is to

have a very strong voice, but they must
remain lyrical and maintain the nuances
generally associated with a great concert-
level guitar. I am not solely interested in
volume, but it’s nice that lattice bracing
gives me a head start as far as projection
is concerned. I am able to focus on more
intimate details of the voice, such as even-
ness, dynamics, sustain, etc. since the brac-
ing naturally gives me ample volume from
the start.

It is interesting to see a lot of builders try-

ing to get more volume from there instru-
ments and this sometimes minimizes the
importance of other aspects of their in-
struments. I use ideas that make sense to
me intuitively and from a physical per-
spective.

If the idea does not turn out in practice, I

will try something else. I am very careful
to only change one thing at a time when
I build a new instrument so I can moni-
tor what effect it is having on the tone and
sound of the instrument.

If something works well, I will continue with it on the next guitar, but maybe change something else
to see what happens. With the exception of two instruments produced for a duet, I have never made
two identical instruments. I am always changing something..

The tailpiece made a lot of sense from a physics standpoint and I have never heard of a classical
guitar with this type of setup. The weight of the bridge can be reduced significantly because I do not
need a large gluing surface since the pulling force on the soundboard is greatly reduced. The sound-
board has less mass and can therefore vibrate more efficiently. The result is a more immediate sound
and a more robust tone. I am not sure what the physics say should happen with the tailpiece, but
these are my own observations. I maintain the traditional break angle of the strings so it still sounds
like a classical guitar.

Brazilian Rosewood headstock veneer

 The soundports are very good for
monitoring what is being played.
It basically allows the soundwaves
to be directed more at the player.
Lower frequencies travel more ef-
ficiently in air so the further it has
to travel the more bass heavy it will
sound.

Having the soundport located close

to the ear allows the player to hear
the higher frequencies more easily
and hear the nuances of the music.
I have not built a guitar without
soundports for the past 3 years or
so. Customers are generally sold on
it as soon as they are able to hear
the difference for themselves.

I use a lot of newer ideas in my

guitars, all of which have a great im-
pact on the sound and/or playabil-
ity. I have a lot of information about
other aspects of the instruments on
my website explaining the processes
and ideas behind the concepts.

“Sometimes
rationality and
Concert model with a
European Spruce top over 100 reality are two
yr old Brazilian Rosewood
back and sides. This guitar has
several custom features such
completely
as snakewood appointments
such as the headstock veneer different things.”
I would never build a guitar using a concept that I didn’t agree with 100% or couldn’t see, feel, or
hear the result for myself. I like trying to reinvent ideas and challenging myself with new concepts.
Some things I try work unexpectedly well and some don’t.

There is a bit of mystery involved to be quite honest. Sometimes rationality and reality are two com-
pletely different things. That is why I love getting more experience. I can rely less on physics and sci-
ence and more on my own intuition. It is a great thing to not have to weigh things anymore and get
stiffness to weight ratios. I am getting closer to the point where I can just tell how to treat a particular
soundboard to get it to react the way I want.

Neck to headstock joint becomes an aesthetic highlight

Your choice of tonewoods is quite “traditional” I guess each builder must find his or her own
from what I have seen so far… is that way because science, intellect, and theory is
intentional? not a substitute for experience. As the saying
goes, “that works in practice, but will it work in
Wood selection is really important to me and theory”.
becoming increasingly so as time goes on. I
have been doing a lot of research on some of the Some builders rely so much on their design
historic builders and getting ideas from their that the wood selection becomes secondary,
instruments and trying to understand their like having a very thin soundboard that loses
building philosophy. It seems so simple but I the sonic quality of that particular type of wood
think for a while I was getting too caught up because it is so thin, or using very non-musical
in the next new thing and largely overlooking woods for the bracing like balsa.
tradition. I am interested to see where this takes
me in the future. I was using balsa for a while, but when I actually
took weight measurements the difference
So many things are happening now with between spruce bracing and balsa/graphite was
composite tops, double tops, double backs, triple negligible. Granted the graphite is stiffer, but I
backs, lattice, carbon fiber, etc. and many of the think that amount of strength is overkill for my
ideas are contradictory to what used to be held as design.
true.

Snakewood binding with

Brazilian rosewood back and
sides
It really stopped making sense because I realized
I was basically gluing sponges to the bottom of
the soundboard. I think that using spruce and/
or cedar for bracing really brings out richness in
the sound that was absent with the balsa design.
I always thought my balsa/graphite guitars were
good, but there was something missing from the
sound.
The newer design has definitely put the
guitars into a better realm. But, these are just
my opinions and observations and do not
necessarily carry over for other people or other
builders. There are many different ways to obtain
great results I suppose.
I mainly use cedar and spruce for the
soundboards, but I am fairly sure that Redwood
and Port Orford Cedar are in my future at some
point. I have heard really good things about
these woods but haven’t had the opportunity to
try them yet.
About 80% of my guitars are cedar, which have
some very sprucey characteristics that a lot of
customers enjoy. I have actually been working
on some new bracing ideas using Phi as a
starting point. It is still somewhat lattice braced,
but more like overlapping fan bracing. All of the
dimensions are based on the Golden Ratio, like
spacing between the struts, strut length, angles,
etc.
This really made sense to me as almost
everything in nature is based on this ratio,
the way that trees grow, our musical scales,
harmonic overtones, etc. Stradivarius used this
proportion a lot, as did many great architects,
sculptors, painters, stock investors, and even
doctors.
The guitars have been very well received so
far and I think this is going to be the direction
I pursue indefinitely. I have only made three
guitars with this design but they were very
special instruments indeed.
And how about the neck and back and sides woods?

I have always used Spanish cedar for my necks because it is a bit lighter
than Mahogany which is helpful because of the added weight of the truss
rod. The back and sides are usually Brazilian rosewood, but I can really
use any type of wood that is available in veneer form. For example, I
am building a stunning macassar ebony guitar now for a customer.
It has some very striking features and will likely be a very
interesting guitar. Since it is a pressed back I can use
very highly figured wood without worrying about
longevity issues. It is nice using the arched back and
laminated sides because I never have to worry
about splitting or checking. When everything
is assembled the back and sides are nearly
indestructible.

I thought for sure that the laminating process

would take some of the tonal qualities of the
wood out of the equation, but it seems this is
being discredited. I can hear a distinct
difference in the tone of the back when it is
glued up. The macassar ebony is the same
design as the Brazilian backs, but the tone
is much lower with a strong fundamental.
The Brazilian backs have a very strong bell
like quality, and Indian rosewood is somewhere
in between the two. It is always interesting for
people to hear such a wonderful sound from a
laminated back. It has a lot to do with the glue
used and the methods of construction.

My idea is to get the back and sides as stiff as possible.

The sides maintain the motion of the soundboard and
the back to reflect sound waves efficiently from the top.
The doming on the back is functioning like a parabolic
reflector which will send the waves in a different direction than
where they originated from thus eliminating wave interference
which will make for a much more even tone. It also helps a lot with
projection and volume.

When you talk about laminating the backs how do you go about it?

I have been experimenting recently with how that backs are made. I have been altering the number
of layers to see how this affects the tone, using different types of woods for the interior, and using
different brands of adhesives. I will use anywhere from 4 to 7 layers, depending on what type of
sound I am trying to get from the guitar. The laminates are stacked on top of one another with a very
strong two-part glue that is formulated specifically for structural lamination. This reduces veneer
creep and distortion that would be caused using other types of glues.
 These layers are placed in a mold that has a very pronounced compound
arch. The whole assembly is then placed in a vacuum which uses
atmospheric pressure to press the substrates into the shape of the mold.
It is left in the press for at least 8-10 hours.

The whole process is much more labor intensive and difficult than
using a traditional solid back. Working with veneers is difficult
because they are so fragile and getting everything lined up
properly while in the mold presents its own set of difficulties.
Then there is actually making the mold, finding the
right vacuum press, researching different adhesives,
and figuring out a process that will yield satisfactory
results. Despite the increase in time, energy, and
money, I really don’t think I will ever go back to
solid woods though. The results are too
rewarding.

So there’s no lattice work between the layers?

Not yet. It is something I have thought

about, but have not tried. The laminate
process keeps the back and sides pretty stiff.
My guitars are somewhat heavy, but nowhere
near some of the other lattice guitars. I
think the main advantage of the lattice system
is to decrease weight and maintain rigidity. I
am not so concerned with weight on the
back because it is not moving like the
soundboard. If I were to try something like this I
would probably use Nomex and layer it similar to
a double top. I have read some interesting
things about Nomex and its tendency to break down
under certain circumstances so this may not ever
happen. I guess it is a good thought experiment though.

Maybe it’s time to talk about finishes?

Yeah… I have tried a lot of different things, primarily because I

have not been entirely happy with any one of them until recently. I
think my days of experimenting with finishes are finally over! That is a really
great thing to be able to say. Finishing is an art in itself and can be very finicky
and challenging. It makes sense that a lot of luthiers are commissioning their work to
professional finishers because the process can be so labor intensive and frustrating.

I have used many different types of varnishes, oils, shellac, lacquer, urethane, qualasole, and have
used them in different combinations on different parts of the guitar. I think it is safe to say that until
recently I have not used the same finishing methods on any two guitars.
I really used to like using urethane because it is very
resilient and easy to care for, but as I worked with other
finishes I realized it was a little too glossy and looked a
bit out of place. There were certain things I liked about
different finishes, but all of them seemed to have some
negative qualities which would deter me from using it
in the future.

My newest method has been used on about 5 guitars

now and everyone who has seen it absolutely loves it,
including myself. I first use a type of epoxy to fill the
pores and seal the wood. After that has settled I french
polish the entire guitar, with the exception of the neck
which is oiled, until I have built up a good base. I then
spray 2-3 really thin coats of satin nitrocellulose lacquer
over top. After that has cured properly I will then go
over it with 0000 steel wool to eliminate any remaining
sheen. The finish is extremely thin and has a very
organic appearance.

I really prefer the look of these new instruments over

their shiny counterparts, even if it is entirely french
polished. I used to use this same process, but use a
high gloss urethane instead of lacquer. The results were
okay, but urethane is naturally very thick and does not
evaporate or shrink like lacquer. Urethane cures by
chemical reaction so what you spray on is exactly what
will remain.

Lacquer cures by solvent evaporation so it will actually

get thinner as time passes. It is possible to get urethane
very thin, but it is very difficult to get perfect. I recently
posted new photos of a recent guitar on my website.
I have been doing a lot of research, as I normally do,
and it looks like these types of “hybrid” finishes are
becoming more commonplace. I think it is a very good
alternative to french polishing, both acoustically and
aesthetically.
With the hybrid finishes, would repairs be more challenging than say a straight
french polish?

Not necessarily. If I used urethane the repairs would be much more difficult because
urethane does not amalgamate like shellac and lacquer. It is also nice that lacquer
and shellac are very comfortable with one another so you don’t get any adhesion
issues. Repairs can be done just like if you were repairing a guitar finished with only
lacquer.

How about something which folks don’t tend to talk a lot about: scale
lengths?

Scale length is really important. My typical instrument has a 653mm string

length with compensated nut and saddle. A shorter scale means less tension
is needed to bring the guitar to concert pitch which can have adverse
effects on the instrument’s sound. It is possible to offset this a bit during
the building process, but not entirely. Some guitars will be affected more
by changes in scale length than others for whatever reasons. I feel like there
are a lot of ways to make a guitar easier to play for someone rather than
changing the scale length, like reduced neck thickness, neck width, neck
profile, string spacing, etc.

Working with the builder directly is very beneficial because you have
the opportunity to discuss issues that were problematic with previous
instruments and really find out what the customer is looking for in the
guitar, sonically, visually, and mechanically. After talking with the customer
about the pros and cons of a shorter scale they almost always opt for the
standard scale and are very pleased with the results. I really like using 660
scales because of the tonal benefits, but it is fairly rare that I get an order for
a longer scale.
“There is no consummate
sound because everyone
has their own preferences”
In terms of the board strokes of building
philosophy I was wondering if you felt
that materials should be modified and
moulded with a specific tonal goal in
mind or whether these materials should
be optimised to produce their own
inherent tonal characteristics?

Very good question Terence. I think a

great builder will have a strong design,
high quality materials, and the knowledge
to combine the two in the best way
possible. If any of these are missing the
guitar will probably not stand out in a
crowd.

On one end of the spectrum there are

those that rely largely on the design
itself, modifying materials that were not
originally intended for ‘music’ necessarily
and changing the more traditional
materials so that they basically lose their
inherent tonal qualities.

On the other end there are those that

use a very traditional design that has
been used countless times before and
use their skills, knowledge, and materials
to make that particular design have its
own unique voice and really optimise
the tonal characteristics of the materials.
Each method has its own challenges and
benefits.

There is no consummate sound because

everyone has their own preferences so
it makes sense that there are so many
different designs and philosophies that
attract different players. I have changed
my ideas about what I am trying to
achieve several times in the past and each
time a new design and new materials were
sought out to bring that goal to fruition.

I will naturally use materials that I feel

bring out the tonal characteristics I am
looking for while constantly modifying
them until the best result is achieved.

Tail piece - an unusual feature for

classical guitars
Thanks so much for speaking to us Kris,
maybe before we go, I can ask you if you had
any advice for players looking to order a
custom guitar?

Thanks so much for the opportunity to

rant and I apologize for my sometimes long
winded responses!

It is a very competitive market right now so

finding an outstanding instrument for a fair
price should not prove too difficult. With
that being said, having so many options may
prove to be somewhat overwhelming. I would
definitely do the research and make sure
the builder has good references and is easy
to work with. I have seen a lot of builders
(mainly in other countries) building guitars
outside an environmentally controlled shop
and using really inferior woods that will
surely crack over time.

They may look and sound good at first, but

you are asking for trouble in the long run. It
is also really important to play a few of the
builder’s instruments because each will be
different, sometimes drastically, and this way
you can more easily relate what it is about
each guitar that you liked to the luthier.
Ordering a new instrument can be intense
and overwhelming because there are so many
options and there are some luthiers who are
great at building instruments, but not so good
with customer service.

A good luthier to work with will be someone

that is able to walk you through the steps and
make the process much easier to ensure you
are happy in the end. I try to build strong
connections with my customers so they are
not hesitant to ask questions or feel like they
are being too inquisitive. I think most people
know pretty quickly when they find a guitar
and builder that resonates with them. If the
relationship seems off for any reason, I would
be hesitant to continue with the order.

If there are any questions, comments,

observations, or concerns, please do not
hesitate to contact me directly.
T H E I N T E R V I E W:
MEGAN SLANKARD
Megan Slankard is one of our
favourite singer/songwriters here
at the office with a stunningly
crystalline vocal delivery and
sensitive lyrics. David Knopfler
said [Megan has] “Voice and songs
to die for – the best thing behind a
guitar you’ll see or hear this year.”

Thanks for taking the time to

speak to us! I understand you’ve
been playing and writing for some
time now – your first CD was
produced when you were 18 right,
how was that experience for you?

Hey Terence! Well, thanks for

having me. Much appreciated! Yes,
I’ve been playing and writing since
I was about 10 years old. I started
recording for fun when I was 16,
using Digital Performer on my dad’s
Mac. Fun stuff, but I wasn’t very good at it at first, that’s for sure. At one point, in the middle of a
night of recording carried away, the computer just turned off, “bling.”

Just like that, everything was gone, every session, every song. It had all evaporated into the ether.
Of course my parents were awakened by my cries of dismay, pounding on their door, 4:00 am, and
dad came out and fixed everything.

It was a great learning experience; and I learned as I went along. By the time I decided it was going
to be an album, I had figured most of the program out. I bought a decent large diaphragm CAD
mic from someone who got it from someone else from eBay, and away I went. It’s definitely not
perfect, but I’m still proud of myself for figuring it out!
 T H E I N T E R V I E W:
MEGAN SLANKARD
And you’ve just released your new CD- how was that
experience?

After a slow, but steady two years of work, I finally released

my CD, A Token of the Wreckage in 2011. The recording
process was pretty quick, and fun, but we took our time
with the mixes and artwork as we wanted to get them right.

We had a lot of unbelievably talented people work on this

CD - from all the musicians and engineers, to the people
who mixed it, put the art together, and down to the very
packaging. I feel very fortunate to have worked with
everyone and I’m very happy with the way it turned out.

Could you let us in on your writing style and habits? Do

they start as melodies or as chords first?

I usually try to allow myself a few hours a day to just sit

down and try to be creative. After all, this is a big part
of my job, and if I boiled it all down, the first thing that
matters to my career. First thing, because without the
songs, what can I do? Since I am a morning person,
the first thing I do when I wake up is work on all of the
business stuff that I’ve let build up the day before. Make
myself a good cup of tea and get to work.
I try to work a few hours before noon when I like to stop and pick up my guitar. I don’t try to force
out songs if they’re not happening, but had a good bit of advice from a musical mentor who said,
“Don’t deny them.”

The worst thing I could do is get distracted because I think the idea is “stupid” and stop a “bad” song
from turning into a potentially great song. Still, it’s easy to get frustrated, distracted, or even bored if
the ideas don’t come at all.

My muse tends to be a flighty little fellow, always dashing about, hiding under everyday dilemmas
and distractions. So, as Derek Sivers (of CD Baby fame) said once at a seminar, “You have to meet
inspiration half way.” I go and inspire myself. I read, or write freely without form, just whatever pops
into my head. Sometimes I draw or take a walk…

When I am feeling inspired to sit down and write, I go at it. Pencil and paper, or lap top. I usually
record speedy scratch ideas and melodies onto my ipod with the extremely handy Belkin Tunetalk
and when I’m on the road, sometimes into my cell phone voice mail. Words and music seem to come
together. I may start with a “catchy phrase” or a little guitar lick, but they end up relying a lot on each
other to build a solid structure to the songs.
Spread:
Photo by Justin Oliphant
When lyrics or melody come separately, I
have a much harder time matching up the
other. Perhaps this is one of the reasons
the Beatles had so much success: two
songwriters (incredible songwriters, might
I add,) who could help each other out and
build on ideas.
This is a guitar blog so I’m going to have
you what your set up is…
I have a simple set up: two acoustic guitars,
Taylor 614ce with factory Fishman pickup,
and a Guild D55 with a new and very
delicious LR Baggs M1 and iMix combo.
Boss tuner, G7th capos, and Martin Strings.
I usually like to sing into a Shure Beta 87A.
Thanks for speaking to us, Megan. Before
we let you go, could you share with us any
exciting projects for the future?
It’s ‘s nice to have something more current
to represent myself when I go on tour, which
has been my main focus for the last year and
a half. In 2011 my agent KC and I decided to
experiment with a more advanced touring
schedule than usual and I ended up being on
the road for more than 7 months throughout
the tour (mostly solo). This year I’ve been
focusing on touring with a collection of
songwriters called The Novelists.
The group is made up of four songwriters
who have all toured independently
throughout the US, and since we all go the
same places we figured why not share costs
and benefits of touring by doing it all as a
group. We perform our songs together as a
band with four-part harmony, bluegrass
instrumentation, and an energetic pop
sound. (www.thenovelists.com).
CD cover & Art for “A Token of the Wreckage” by David
Ball, the design by Akira Kimata.
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 FEATURE
Luthier: Raymond Kraut
Modified Dreadnought

Specs
Model: OM
Fingerboard: Ebony
Soundboard: European Spruce
Neck: Honduran Mahogany
Back and Sides: Quilted “Tree”
Mahogany
Front and back peg head veneers:
Quilted “Tree” Mahogany
Tuners: Alessi
Photos courtesy of R. Kraut
FEATURE
Luthier: Steve Saville
Small Jumbo
Specs
Size: Small Jumbo
Top: Lucky Strike Redwood
Back/sides: The Tree Figured mahogany
Binding: Madagascar Ebony
Top Purfling: Radial from back/sides
Kerfed lining: Reversed cut mahogany
Back bracing: Mahogany
Top bracing: Lutz Spruce
Bridge plate: Rosewood
Bridge: Madagascar ebony 2 3/8” spacing
Bridge pins: Black buffalo horn/abalone dots
Fretboard: Ebony
Headplate: The Tree
Headplate inlay: Abalone "S"
Headplate backing: Rosewood
Headplate backing: Rosewood
Neck: 5 piece laminate – Mahogany/Oak/
Mahogany/Mahogany with dual carbon fiber
reinforcement rods
Heal cap inlay: Kanji spirit 5/8” abalone
Nut: 1 13/16”
Tuners: Gotoh 510 Gold with black buttons
Rosette: 0.125” abalone ring
Fret wire: EVO gold
Fretboard side markers: Abalone dots.
Scale length: 25.7"
Fretboard radius: 16".
Neck joinery: mortise and tenon bolt on & bolt on
Top radius: 28.
Back radius: 15
Bracing: X lattice
Finish: Gloss Polyurethane
Photos courtesy of S. Saville
REVIEW
Little Man
Steve Wildey
Finally a purely instrumental album arrives
at our office and it’s Steve Wildey’s Little Man.
The winner of the 2005 South Florida Folk
Festivals Fingerstyle competition and 1st
runner up at the 10th annual Gambel Rogers
Folk Festival Fingerstyle competition brings a
lot of technical and lyrical skills to this CD.
Often instrumentals are accused of lacking
feeling. Not so with the standout track
for us: Seasons Of Life. With it’s complex
arrangement, Widley manages to weave a
lyrical and melancholic melody line through
the entire track.
This ability to retain the listener’s attention
through technically demanding fingerstyle
arrangements is a particular skill even with
the varied styles on the CD.
From the Travis style picking on “Love’s A
Twister” to the restrained chordal work on
“Yellow”, the entire album is more a showcase
of the skills Wildey has to offer.
We look forward to his work, and in
particular what can be achieved with a
focussed album.
REVIEW
Songs About Something
Richard Geller

Without the need for TV judges or audiences,
Richard Geller’s Songs About Something has
succeeded.
With elegant simplicity, the tracks draws you
in and inspires the listener to explore the wider
scope of Geller’s work- novels & poetry.
Geller has played to large audiences at the
Swannanoa Gathering, opened for Gretchen
Witt, and had the first track of this album, “Every
Time I See Your Face” selected for a national TV
campaign.
As singer-songwriters go, some have great
vocals, others great guitar licks. Geller’s
greatest tool are his lyrics and an ability to
restrain the guitar accompaniment to just the
right level of complexity.
Standout tracks include If You Must, with
almost lullaby feel to it and Every Time I See
Your Face, more up front with it’s vocals.

So he’s not exactly “new”. But he is unjustly little

known by the public. His delivery is ideally
suited to the quietly, carefully penned lyrics.
REVIEW
Acoustic Bossa Nova
Ida Landsberg & Simon Salvatore

Acoustic Bossa Nova is the vehicle
for Ida Landsberg to bring a Latin
Jazz tinge to contemporary popular
music. Accompanied by long time
collaborator Simon Salvatore, the
result is an easy listening CD.
Ida possesses a unique vocal
talent. With a classical training in
singing, piano, flute, music theory,
Ida always seems to find her own
particular way to portray the vocal
element of a song.
Many of the songs consistent of just
a guitar and Ida’s vocals. Yet they
remained harmonically rich despite
the use of space between musical
motifs and phrases.
Does the translation of pop music to
a Bossa Nova style work? Well some
tracks come off better- The look of
love is surprisingly refreshing and
we all know Fragile works within the
context of a Jazz theme.

On this album, her vocals are

characteristically light and bouncy
whilst retaining a high level of
expressiveness.
FEATURE
Luthier: Brent McElroy
Jumbo
Possibly the oldest Tree Mahogany guitar in this Issue, Brent McElroy built this
in 1998 out of back sets
purchased from a local hardwood store for the princely sum of $7 each! The sides are plain mahogany but the
top and back are clearly highly figured.

Photos courtesy of B. McElroy

FEATURE
Luthier: Takahiro Shimo
Sugilite
Possibly the furtherest the Tree has travelled. Shimo san is one of the most famous luthiers in Japan and this
Redwood and Figured Mahogany steel string was made in the 90’s. This has a 15” lower bout and a 24.75”
scale length.

Photos courtesy of T. Shimo

FEATURE
Luthier: Dennis Scannell
True North Guitars
Specs
Model 1 Grand Auditorium Guitar
Back/Sides: Highest grade quilted
Mahogany from “The Tree”
Top: Master Grade Salvaged Lucky Strike
Redwood

Nut width: 1-3/4”

String spacing: 2-1/4”
Scale length: 25.4”
Headplate: Quilted Mahogany from “The
Tree”
Bridge: Ebony
Fingerboard: Ebony
Side Dots: Mother of Pearl
Finish: nitrocellulose lacquer
Purfling: Select Blue Paua Abalone
Rosette: Select Blue Paua Abalone
Binding: Macassar Ebony
Tuners: Gotoh 510 “Cosmo Black”
Tuning Machines with Black Buttons

Extras:
Compound side-tapered body
Semi-hemispherical fret ends
Ebony bound fingerboard
Double graphite reinforced neck shaft
Photos courtesy of D. Scannell
FEATURE
Luthier: Harry Fleishman
Fleishman Instruments
Specs
5” lower bout, based on a circular lower
bout shape
Back/Sides: Highest grade quilted
Mahogany from “The Tree”
Top: Sitka Spruce
Side port: Augmented with a water
buffalo horn section
Scale length: Multiscale
Fretboard: African blackwood
Bridge: African blackwood
Peghead: African blackwood
Neck: Curly Spanish Cedro

Saddles: Individual saddles from

antique bone.
Bridge pins: Water buffalo
Tuners: Waverly with ebony buttons.

Extras:
Tapered body adds depth
Steer skull inlay
Spruce roundover under the right arm
area instead of an arm bevel
Demi-cutaway to safe air volume within
the guitar
Back scallops for comfor

Photos courtesy of H. Fleishman

DIFFERENT STRINGS
This month’s Different Strings features another ukulele. But not just any uke, but one made from the Tree
Mahogany! This little beauty is crafted by Paul Woolson and features a double top and double back!

As a tenor uke, it sports a 17.02” scale and has an Adirondack spruce on the outer skin, Lutz spruce on
the inner for the top. The back is an outer and inner skin of the Tree mahogany. Trimmed in Indian
Rosewood binding with a 7-piece lamination of mahogany, maple and east Indian rosewood, it’s every bit as
sophisticated as it’s larger brothers.
Photos courtesy of P. Woolson
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PREVIEW
Stay tuned for Issue 4 of
Guitarbench Magazine.

With lots of great guitars,

Follow a build with

Andy Manson.....
 PREVIEW

And interview with

Mike Doolin...

Lessons, review and

much more...
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MAGAZINE?
Please consider subscribing
for our future editions and
help us stay in publication.
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