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Anyone notice the case? It's a Hiscox, the standard case for UK custom makers to give with their guitars, and this is the cheapest base model of three, I generally keep my guitars in the next grade up the ProII. Hiscox are superb cases and represent great value for money (I buy mine from Roy Courtnall himself) but I'd have thought it deserved a Calton or at least one of the higher grade Hiscox. Joshua, David is this the case that comes with the guitar from Romanillos?

Colin

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I don't believe in anything, I simply make use of a set of reasonable working hypotheses.

After looking at the pics a little more carefully I'm curious about a few things.

What is the side white marker between the 11th and 12th fret? What wood is used on the back for the separating white lines, is it holly? Does he taper the fingerboard down on the bass side, the saddle appears almost straight across the bridge. What sort fret-end treatment does he customarily do, there appears to be very little bevel?

I noticed the very square fret ends last night as I was re-looking at the pictures (they are also set in slightly from the edge of the board), also the mark in the 12th fret area. Maybe it's a piece of tape the owner put there, though I do not know why you would need one at the 12th.

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Waddy

Photobucket Build Album Library

Sound Clips of most of my guitars

The side dot is a high tech dot made from sticky paper, since classical builder are too cheap to insert side dots, many players have to resort to this. I've seen it very very often.

Why are strong bevels needed on the fret ends. I don't bother filing them too much either. Maybe it looks a little better with a big bevel, but it can also help the strings going off the FB when doing some stretches.

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Build log

In his shop in Guijosa Spain, Jose' showed us billets of holly along with the .5mm thick sheets he had planed from them and which he used to lay up and create his marquetry. I would assume that Liam would be using this as well. The lines on the guitar certainly look like holly.
I don't know what type of cases are supplied with the guitars, but I would bet that the Rogers machines on the auction guitar are replacements for the (Landstorfer) Reischls that have been used consistantly on these.
Indeed one can see grain pores and other surface features especially in the rosette. The workmanship on these guitars is not miraculous.....they are truly handmade and look it.
They are also instruments with a highly developed aesthetic and undeniable character.

www.guitarsbydavidlaplante.com

I've seen removeable dots used, but not on the 12th

Yes it does not make much sense but what else could it be...

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Build log

This is very interesting, David. Never having seen one myself, I am at the same time surprised by this, and...what's the word that says you fell better about something? It takes the pressure off, there's so much expectation that everything has to be more perfect than perfect. That a builder of his stature and a guitar at this level can still reveal some character of it's hand made-ness, is refreshing.

Now, If I could get $20-30,000 per guitar, I'd be OK making only a couple a year. Very happy.

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Expectation is the source of all misery; comparison the thief of joy.
http://redrivercanoe.ca/

Recently I was in a high end guitar store that featured most all the builders out there both large and small as well as individuals.
The guitars were all at the same very high level of fit and finish.

The operative word here is "same". Since they all utilized identical materials and finish the resulting impression was that none were distinctive.
If I gained anything from the time with Jose', it was a liberated sense of finding a new standard and aesthetic for my guitars and to not slave away in order to fulfill the expectations or presumptions of others.

www.guitarsbydavidlaplante.com

It's nice to know how he feels, but, somehow, that does not take the pressure off. I just chiseled the rosette out of #3 this morning. I couldn't stand it. Starting over on both #2 and #3. I have to please myself first.

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Waddy

Photobucket Build Album Library

Sound Clips of most of my guitars

The steel string market and the classical market are almost mutually exclusive, as well, which has an effect on standards and perception. From speaking to really high-end steel string builders, there really is no room for cosmetic flaws at the upper end of the market and the 'immaculate' look is expected. The general perception is that it could be very damaging to a builder's reputation if they let an instrument out the door with any 'flaws' a normal player could find.

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Bob Garrish
Former Canonized Purveyor of Fine CNC Luthier Services

I guess I'm not putting this idea across clearly:
I'm certainly not saying that this aesthetic allows "flaws" in the work per se, "handmade" does not imply less than superb fit or finish.
For me it includes things such as one off or unique marquetry motifs and rosettes as well as a thin French polish finish which becomes integral with the color and texture of the materials. In addition striving for a unity of design is paramount.
If you ever get a chance to see an old Martin guitar from the 19th century in fine original condition you can easily see what I'm getting at.
"Factory" guitars have set an extremely high standard and over the years lots of individual makers have been able to mimic the look of these but I think may have lost something in the process.

Best

I think CNC does just about as much to eliminate character in modern guitars as anything I can think of. It really shows in inlay work, especially if the routing is also done with CNC. I heard one builder say of an intricate CNC'd inlay, "It's go no soul."

It's sort of a shame that the workmanship of 100-year-old Martins, beautiful as they were, wouldn't hold up in today's hand-built market.

Pat

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formerly known around here as burbank
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http://www.patfosterguitars.com

In my opinion, the visibility of the rosette texture is not a flaw but a feature of French polish and mosaic rosettes. Likely, when the guitar was new, the finish was deeper and smoother, but after a few years, the shellac continues drying and eventually shrink-wraps the rosette revealing its component and tile boundaries.
Actually, this type of thin finish puts a high demand on the absence of any cosmetic imperfection.

You never know which can's full o' worms 'til you open it

What I feel or prefer as a builder and what customers feel are two different things. I prefer the look of extremely thin finishes without sealer that sink into the grain lines on tops, but it would be a hard sell to most steel string buyers and would be seen as a 'flaw' by many. I hope that's clear enough.

David:
A great mentor of mine is an amazing instrument restorer as well as being a fine repairman and luthier, so I get the pleasure of playing 19th and early 20th century guitars every so often. If I stay lucky, then maybe I'll be able to afford one of them someday! I agree with what you say about aesthetics and uniqueness, my comment was more aimed at the "everything is a mirror!" state of affairs with high end steel strings.

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Bob Garrish
Former Canonized Purveyor of Fine CNC Luthier Services

This is turning into a great thread. I particularly liked David's comments about aesthetic boundaries and totally agree with Marc regarding the French Polish.

My rosettes do that too.

I once had a very particular customer tell me when he first opened the case after taking delivery: "I immediately had the impression I was holding a 120year old guitar saved from the ravages of time."

There were no imperfections on that guitar but it certainly had character and a very human quality to it.

His comments are my favorite of all I have received. I always aim for that same "aura" for a guitar, while not sacrificing precise work.

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Instagram: @jfrenchluthier
Web: https://www.jfrenchguitars.com/

I'm taking great solace in the comments from David, Joshua, and others, that are offered here. These attributes are qualities that I endorse.

I want my work to show competence and a well developed aesthetic, but not to have that machine -made, cookie-cutter, big-yawn, seen-that-before, look.

That one of the most highly respected builders is working within the same design language, now I can have confidence that I'm not way out in left field! (Well, maybe I am, but not as far out as some might think...)

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Expectation is the source of all misery; comparison the thief of joy.
http://redrivercanoe.ca/