8 String Classical Guitar
Here is my first 8 string classical guitar. It was created from a guitar that I had already started when I received a call from
my customer and good friend Dieter Hennings about making an eight string for a guitar and voice project by August of 2021.
I had about 4 months and stay in that man's debt, so I took that project and sent it in a completely new direction. So it is a bit improvisitory
in appearance, but I had fun and the result sounded very nice. I think I will make more of these.
I had been looking for an excuse to use purple heart as binding for several years and this back and side set of
African Rosewood (a.k.a. Bubinga) was the perfect excuse to do so.
This top was from a the first batch of Lutz spruce that I bought from Bow River Woods. That wood ended up building some
The extra two bass strings on this guitar were added off center. First I was trying to deviate from my normal six string
building plans as little as possible, then I couldn't resist the idea of creating asymmetry on the top by applying the
string tension more on one side than the other.
The binding is purple heart and the purfline is a sandwhich of purple heart and maple remaining from my first 20 guitars.
I have always derived a portion of my self-importance from the purfling joints at the end graft. Well executed joints in
the less often seen regions of one's work are a signature of a maker who has not succombed to cynicism.
The Headstock Design
So the goal of this design was to keep the D and G string tuners at their traditional position on the headstock.
That is - being at the upper end each row. In this way, the player switches sides at the usual time when tuning
the strings in sequence. It also created an interesting issue of string guiding that was easily solved by placing
another nut at the end of the truss rod cover. Overly complicated and not practical? Meh. I call it fun.
Gotta have that veneer on the back side. A little inspiration I keep from the Bogdanovich book.
It's my usual design of neck attachment that uses fasteners instead of glue. This is better for long term maintainence.
The Octagonal Rosette
I still had several of the octagonal rosettes remaining and this seemed like a great way to apply them.
I cut this African rosewood from a board I found at Jeffrey's Fine Lumber near Knoxville, TN.
I used the Hannabach "Silver" 8 string set on this guitar and was pleasantly surprised with the tone quality
This guitar was French polished with a traditional 19th century spirit varnish recipe that makes my shop
smell amazing and that brings out the beauty of every guitar like no other finish I have ever used.