The first new Model 1 Sicilian has reached its new owner.  Bryan Caldwell in California received it last Friday.  Bryan says:

Hi Stefan,

Despite DHL listing Monday as the day of delivery, the guitar showed up this afternoon (Friday)!

I am beyond pleased with it. What a wonderful instrument. I’ve been playing guitar for more than 50 years and I’ve owned Martins (too many to count), Gisbons, Kevin Ryan (2), Guild (1), Goodall (2), Collings (5), Santa Cruz (3), Taylor (2), and more – and that’s just the flat tops, and this stands out among them all.

I was happy to read this.

I called my first guitar my Model 1. Hardly imaginative but very logical.

A couple of years later, a very slightly modified shape became my Model 1 Sicilian (the first went to Sicily), and in this form I built it for many years.

Since around 2000 I have been building Martin Simpson, New World, Steinbeck and Anniversary models.  But I have recently re-fretted some Sicilians and been reminded what excellent guitars they were.  So I have built a new version, to the original shape and dimensions but with my later soundboard and construction developments.  It is now in my catalogue as a regular model.

The backs and sides are best old Indian rosewood, bought 30 years ago and air-dried on my shelves ever since. The soundboard is 5 year old German spruce, and the neck is 20 year old Brazilian mahogany.

The first of the new Sicilians, shown left, has a non standard Wengé neck, available as an option.

Specifications

For more information email stefan@sobellguitars.com
or telephone  +44 (0) 1434 673567

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I have started work on a prototype Brazilian rosewood and Douglas Fir Martin Simpson Signature model.

I built a New World Classic (flat soundboard) with a Douglas Fir soundboard which was excellent.  This time I’m building to my standard curved top design.

The back and sides wood I picked are dark traditional Brazilian rosewood. Clearly nicely figured, but it was only when I applied Shellac lacquer that I realised just how dramatic it was.  With the shiny Shellac and under my bench lights it looks absolutely wonderful.

The shellac will be scraped and sanded off later, but there are good reasons for applying it now.

1. When removing tape that holds the binding, it can pull little lengths of wood from the grain; the shellac prevents this.
2. When scraping and sanding the finished instrument prior to going into the spray booth, the dark shellac shows the areas still needing more work.
3. The shellac helps fill grain before lacquering in the spray booth.

I am offering two African Blackwood guitars for sale.  Both are among the guitars built for myself because they interest me, both are beautiful looking and sounding guitars in mint condition. Now it’s time to sell them, as I have more in the pipeline.

Because of the strong US dollar and week UK pound, this is an opportunity for US players to buy at a lower price than for many years.

Legendary Irish musician Andy Irvine had a scare when his two main instruments vanished on a journey from Dublin to Denmark.  These were his guitar bouzouki and mandola, both built by me.

It was many weeks before they were finally found and returned, and in the meantime Andy asked if I had a mandola available. Unusually, I did, and he arranged to come to Northumberland to see it. By the time he arrived, the lost instruments were found, but Andy played the new maple mandola and, because he loved it, decided to take it any way.  Here he is playing it and showing off the Birdseye maple back and sides. He took this mandola on his latest UK tour.

This mandolin is now sold subject to confirmation.

Small mandolin available.  Birdseye maple back and sides, German spruce soundboard.  It looks and sounds wonderful.

Email stefan@sobellguitars.com or call 01434 673567 for more information.

A little progress

Before starting this 12 fret New World D, I planned on building an MS model and had cut the rosette slot and fitted a double arrow-head rosette.
When I decided that I would instead build a New World D, I was still able to use this soundboard, but the rosette and soundhole would have been in the wrong place for a 12 fret. There was no possibility of moving the rosette and anyway, no need to, because the soundboard was big enough for me to re-position the guitar shape.

In the photo of the rosette, you can see some of the original MS outline, and how different the soundhole position would have been.

The difference would have been greater except that the 12 fret has one fret fewer between the neck end of the body and the soundhole.  The bridge will of course be closer to the tail by the distance between the 12th and 14th frets, and the bracing pattern has been modified accordingly.

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Above, the centre reinforcement has been cut away to receive the back braces.  You can see from the guitar outline, this back is not quite as wide as the NW body. However, the binding and purfling will add enough width that it will be just wide enough. Otherwise I would have had to add a narrow tapered centre panel to make a three piece back.

Right, the braces have been shaped (all four to the same curve) and glued in place.  Another example of the usefulness of the go-bar jig, this was a much more complicated operation before I had it.

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Just starting

Starting a new guitar is always a special event.  I build one at a time, and the first real woodwork has a good feel.  Previous to this I’ve picked out suitable back and sides (Brazilian rosewood this time), soundboard (old German spruce) and neck (Wengé).  I’ve joined the back, thicknessed back, sides and soundboard, and cut spruce billets into braces.  All this is preparation; the first real building processes are reinforcing the back and fitting the rosette.

Here the back is in the go-bar jig with the spruce reinforcement (taken from off-cuts of the soundboard) glued in place and held by go-bar spars while the glue dries.  The back brace positions are marked; the reinforcement will be cut to accommodate them.

While it is of course the same procedure I’ve shown many times before on this site, I like to show it often.  The different woods can be seen (Brazilian rosewood varies a great deal), and sometimes, as this time, I’m building a particularly interesting guitar.  This is going to be a New World D guitar, based on my 12 fret to the body New World.

12 fret guitars are generally considered to have a special sound, as compared with the more usual 14 fret versions.  Last year I built my first 12 fret New World (see my News item 27 October 2021); it’s now the guitar I play every day and find so hard to put down.  A slightly different sound compared with the equivalent 14 fret, it’s deeply satisfying across the strings and all over the fingerboard.  Sometimes it’s hard to say exactly why a guitar feels and sounds just right, but my New World 12 fret is one that does.

Of course, 12 fret guitars limit how high one can put a capo, and frets past the 11th are hard to get at.  But most acoustic players don’t play up there anyway, and if they do they would probably choose a 14 fret cutaway.  The 12 fret guitar isn’t about access, it’s about sound.

Building a D version involves building a neck two frets longer, thus turning it into a 14 fret guitar.  But the special aspect of the 12 fret guitar is the position of the bridge.  Because the neck moves two frets into the body, the bridge has to move by the same amount and so ends up two frets closer to the tail, and it’s this that gives it the 12 fret sound.  Adding two frets at the head end doesn’t change this.

A longer, therefore heavier, neck will change the sound to some extent.  I’ll be interested to see if this change is noticeable and if so, how different it sounds.

More on this build in the future.

Me, Colin, and the mandolin                                  photo: Janet Fellows

After several years concentrating on guitars and building no mandolin family instruments, we are now building them again.

Colin has now built three mandolin family instruments to my exact design; this is the third.  He has his own workshop a few miles from me, but spends one day a week with me showing his progress and checking with me it’s exactly how I build.
I provide the carved soundboard (and back where this is carved) along with the other materials, and we look together at the build at every stage to ensure these are exactly as I build them.

Not only do I appreciate Colin’s skill, I am also really happy with his down to earth no nonsense attitude.  This third collaboration mandolin looks wonderful and has all of my trademark sound; full details and more photos on my ‘Available now’ page.

A 10 string cittern and 8 string maple bodied mandola are also well under way.