Concert classical guitar
“Sonata” based on Elegy model
N-66, Made in 2019
630mm scale with 50mm nut
Cedar top (Special lattice bracing with some carbon bars)
African Wenge back and sides
Sides are triple laminated (Wenge-Maple & Cherry)
Back is laminated with cedar
African mahogany bolt on neck neck with carbon fibre rod
Elevated ebony fingerboard with jumbo EVO frets
Irving Sloane tuning machines with ebony knobs
French polish top balance of the guitar is nitro laquer
Hardshell case included
- Body length – 18.5″ / 47 cm
- Lower bout width – 13.89″ / 35.3 cm
- Upper bout width – 10.62″ / 27 cm
- Waist width – 3.93″ / 10 cm
- Weight of guitar is 1.95 Kg / 4.30 lbs
A couple of years ago I split some tops from one of my cedar flitches and out came some very dark, chocolaty wood. Unfortunately there were only two tops out of this flitch that were usable for a fine instrument. Such is the case with wood. Anyone that has spent time going from tree to guitar can attest to the cocktail of anticipations and let downs experienced in search of the highest quality cuts from a tree. This particular log had a pleasant surprise.
One top of which was used in constructing, Praetoria, guitar no. 67
This 630mm scale classical guitar was started before COVID-19 was on our radar. It should have been completed long before now, but some orders, the lockdown of suppliers and other family excuses kept me from finishing it until September of 2020. Every 630 scale I’ve completed thus far seems to be a riotous joy to play and this guitar is no exception. While it’s finalization comes late, there is a quality and inspiration that goes along with delaying these projects.
The result is a short scale guitar that is probably too short for most players, but it will answer the prayers of that rare person in need of a concert quality guitar that makes those long reaches more gentle on the hands. You know who you are. This one is especially for you and I think you will find joy in its responsiveness, balance and singing first string.
” About Elegy direct from the luthiers website “
- My method is an inward subtraction of density from the top that is then tied into the much thicker edges via my own lattice-like bracing. I find this balances the efficiency of both light and heavy strokes, giving the player a “quick attack” without sacrificing depth, warmth and power.
Back and Sides
- I normally laminate the back and sides. The sides are laminated with the goal of increasing weight and the back is laminated with western red cedar. I highly recommend this to players looking for a very focused, salient projection and excellent separation between voices. What one sacrifices in feeling the body vibrate against the body, one gains in tone quality and salience.
- When I first started using a bolt on neck I was merely fastening the heal. Beginning with Guitar No. 31 I began using a bolt under the fingerboard as well. This makes the entire neck removable, seriously facilitating finish work and any restoration that might be required as the instrument ages.
- Fantastic guitarist and teacher Stanley Yates first encouraged me to try out “Jumbo” frets and I have been using a large fret width and height ever since. Overall, this is a major improvment in the playability of a guitar and the sustainability of the instrument’s setup, preventing string ware in the fretboard and ensuring that minimal effort is required for the player to fret a string.
- The elevated fretboard is now a standard in the classical guitar world. I use only a minimal elevation (1/2″) that gives players an easier access to the frets over the guitar body. This is acheived by increasing the neck angle 1/2 a degree and lowering the upper-bout so the string distance from the top remains in a traditional range.