In the Yorkshire folk clubs of the late 1960s I came across very few good guitars. When I saw Stefan Grossman play a small club near Harrogate, he had a vintage Martin the like of which I hadn’t seen before. I think now it was a Brazilian rosewood 000, probably an OM.

When he first took it out it was unlike any guitar I’d heard; I was astonished. The sound from other guitars around crept out from somewhere inside, but this seemed to hit you straight off the sound-board. It was my first experience of what new strings and a really good steel string guitar could do.



After all these years I can’t really say how I’d feel now about Stefan Grossman’s Martin. I’m sure it was a great guitar, but I’ve heard an awful lot more good guitars since, and I’d be putting it in a different context. But I can say that the moment I first strung and played this Adirondack guitar, for the first time in decades my mind went straight back to that evening in Yorkshire and the sound I heard there.

My idea in building this guitar, as mentioned in previous bulletins, was to get the classic American sound but with added presence and sustain. I think it does this, and I love it.

Experimentation

New ideas don’t always turn out the way you expect, however experienced you may be. A year or two ago I built an experimental soundboard braced using ideas taken from classical guitar construction, which was so successful I immediately removed and replaced it. But as often happens, finding out what doesn’t work helps you find what does, and in this case the lessons learnt led to the very different bracing system that works so well on the Martin Simpson signature model.

Cocobolo for backs and sides

Here are cocobolo sets just arrived, bound and lathed. They’ve been cut to make four piece backs so they can be fully quarter sawn; had I cut them for two piece backs, they would have been well off the quarter towards the edges.

Cocobolo is a central American rosewood. It gives a dark, clear bass with good separation right across the strings. It has some of the tonal qualities of Brazilian rosewood. Its appearance varies, this looks great.

Today I strung up my latest large bodied octave mandolin, with German spruce top and cocobolo back and sides. It is constructed with my modified neck joint. This can be identified by the fingerboard continuing almost to the sound-hole rather than finishing a centimetre or so back.

I have also changed the body shape just a little. The curve leading towards the tail is gentler and the line leading up to the neck is a little more curved. The body is now a little less pear shaped and a little more apple shaped than before.

Cutaway Model 1

Here are Model 1 cutaway sides in the mould. The little knot visible on the left is not a problem as long as it occurs on a straight rather than on a curve. The sides have to be marked out bearing this in mind.

Left handed Parlour guitar

Here it is strung and ready to go. Pictures of the front are reversed to show a right-handed guitar (and left-handed case!). The green tint is visible only in natural light and sometimes photography flash light, and is a reaction between Brazilian rosewood and the melamine lacquer.

Adirondack Spruce

Many of the the famous classic US steel string guitars were built with Adirondack spruce soundboards. As it became harder to source, most guitar factories replaced it with the cheaper and readily available Sitka.

Adirondack is stiffer than both Sitka and European spruce and could suit my designs well. Although relatively expensive and difficult to find in suitable widths, it is still available and I’m building an experimental guitar with and Adirondack spruce soundboard.

This guitar will have old Brazilian rosewood back and sides, and a figured Honduras mahogany neck. Because I feel the greater soundboard area will suit the stiffer spruce, I’m building it in my Martin Simpson signature model mould. It be fitted with rosewood binding and birdsfoot and colours trim. Here are the back and sides, first ready to be glued together, and then glued and clamped, and finally fully lined ready for the soundboard

Parlour guitar

This is now lacquered. It’s waiting for final buffing, then the bridge will be glued on and it can be strung up. After which I have only to find a left handed guitarist to play it before I ship it to Alex.