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18 Nov2022

Brazilian rosewood / Douglas Fir MS model

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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.

10 Oct2022

Two African Blackwood guitars available

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.

African Blackwood
German spruce
D guitar
Now Sold
The D guitar is built on my large 12 fret Model 2 body with two extra frets added before the nut, so lowering the pitch by one tone.

I originally devised the D guitar when wanting to accompany in F but preferring G chords. The extra two frets also gave a wonderful deep resonant sound. Fitting a capo at the second fret gives standard guitar tuning, string scale and tension.

This is a guitar with all standard guitar strengths plus the extra depth and resonance available from the extended scale.

The German spruce soundboard comes from the Gleissner stock of best quality soundboards aged between ten and twenty years. It is mellowing nicely already, and has prominent Bearclaw figuring.
The rich, dark African Blackwood back and sides were on my shelves for nearly twenty years before the build, so are also well aged.

sobellguitars.com/verona-guitar

D guitar back detail

 

D Guitar specifications

Scale: 725mm (28.54″)
Soundboard: Aged Bearclaw German spruce
Back and sides: African Blackwood
Neck: Wengé
Fingerboard:  Ebony
Bridge: Ebony with bone saddles
Binding: Rosewood with red, green and gold purflings
Trim: Arrowhead with red line
Max body width:  410 mm (16.14″)
Max body length  525 mm (20.66″)
Body shape:  Model 2
Tuners: Gold plated Gotoh 510s
Nut width:  45 mm (1.77″)
String spacing at bridge: (2.36″)

African Blackwood
Figured Sitka
Verona guitar
Now under offer

The Verona model was inspired by a conversation with Massimo Raccosta, a guitarist and guitar collector living in Verona.

Built with a pickup as an integral part of the design and a shallow body to fight feedback, the Verona model has a satisfying balanced sound, and a surprisingly strong bass even unamplified.  A fellow guitar builder played one for a while but had no idea how shallow it was until he turned it over; he hadn’t noticed any lack of bass.  The pickup sound is strong and versatile in that it suits many different musical styles; it is one of those guitars that somehow just feels right.

This guitar has the most stunning Bearclaw Sitka soundboard and beautiful old African Blackwood that blends in to the dark Wengé neck. It is fitted with the excellent Highlander under-saddle pickup with its Highlander external battery box.

sobellguitars.com/verona-guitar/


Verona Model back

 

Verona Model specifications

Scale:  650 mm (25.6″)
Soundboard: 
Bearclaw Sitka
Back and sides:  African Blackwood
Neck:  Wengé
Fingerboard: Ebony
Bridge:  Ebony with bone saddles
Binding: Black with red, green and gold purflings
Trim:  Birdsfoot with red line
Max body width:  415 mm (16.3″)
Max body length: 495 mm (19.5″)
Depth: 75 mm heel, 55 mm tail
Nut:  45 mm
Tuners: Gold Gotoh 510s, black buttons
Pickup:  Highlander

D Guitar images

Verona Model images

12 Sep2022

Andy Irvine’s mandola

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.

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07 Aug2022

New Small Mandolin for sale

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.

11 Jun2022

Brazilian rosewood back

This is the back of the New World D guitar I’m currently building.  So pretty.

02 Jun2022

New World D part 2

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.

31 May2022

New World D guitar

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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.

20 Feb2022

New small maple mandolin for sale

 

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.

17 Feb2022

MS Anniversary model part 9

Back from the spray booth

Today Dave brought back the Brazilian rosewood Anniversary MS model that I’ve been featuring over the last few months.  I shall leave it a few days for the lacquer to settle and harden before fixing the bridge checking frets, fitting 5-10 Gotoh tuners and stringing up.

This particular Brazilian rosewood has grain with green hue in sunlight.  I know not everyone likes it, but I and many others absolutely love it. It’s a reaction between the lacquer and Brazilian rosewood which never occurs with other woods.  It’s possible it fades over the decades, so enjoy it while it’s fresh.

Overall, beautiful back and sides which go so well with the Wengé heel.  I can’t wait to get strings on.

 

 

 

 

 

 

Old German spruce soundboard, close grain, stiff and air dried for decades, with ebony soundboard logo.

02 Feb2022

Tail construction

The tail block links the side at the tail and provides a gluing surface for the soundboard and back. Invisible and not an exciting part of a guitar, as with most components it is vital to the structure.

A couple of years ago I had an instrument returned that had clearly been kept in very wet conditions.  The fingerboard had swollen so the fret ends were not visible, the centre join down the back was sunken, and the soundboard was rippled.  A friend suggested it had been kept in a sewer.

But the worst damage was at the tail. I build tail blocks from German spruce, laminated to avoid splitting when stressed, and at the time these laminations were at right angles to one another.  But the extreme damp had caused the horizontal grain piece to expand, which pushed the top and bottom bindings away from the sides, leaving unsightly gaps all around the centre tail strip.

While guitars should never be allowed to get so damp, since then I have laminated tail blocks so the grain is not quite vertical and alternate pieces slant different ways, as in the photo left.  While extreme wet could still allow expansion to take place sideways, this is less damaging than vertical expansion.

Pencil lines show grain direction. These laminations will be glued with alternate slant.

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The photos left show the finished tail block, the sides gluing to it and the tail block in place.

Photos below show  the body ready to receive bindings with the centre tail strip in place, and the tail with the Santos rosewood binding in place and mitred into the tail strip.

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  • News
  • Instruments
    • 40th Anniversary Model Guitars
    • Flat Top Guitars
      • Steinbeck Model Guitar
      • Martin Simpson Signature Model
      • New World Guitar
      • Model 4 Dreadnought
      • D Guitar
      • Verona Guitar
    • Arch Top Guitars
      • 6 String Arch-Top guitar
      • Twelve string Arch-top
    • Citterns and octave mandolins
    • Mandolins & Mandola
  • Construction and Design
    • Wood
  • Available now
  • About Us
    • Contact
    • How I started: my first cittern
  • Things they say
  • Order
  • Tonewood for sale
    • Indian rosewood for sale
    • Brazilian rosewood for sale