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INTERVIEW CONDUCTED ON 7 NOVEMBER 2004
Biographical background:
I was born in 1960 in Orkney. It grew to 12 years and completed primary school there. Then I had to
To Kroonstad and finish my high school career at Kroonstad. 1977 Matric written and then I'm from there
en to Kempton Park and getting involved in the airline industry. Was an apprentice in plane
sheet metal work. I have to say… ..to bring the guitar in here now - that in standard 6 I already have a guitar
wanted to build, but there just wasn't information. Then one matric guy at school tried one day
one build, but it flopped. I think if he had passed that day, I would have started much sooner. It was
always been in the back of my mind because I played so little myself. The years went on until the end of '95,
then my sister (classical guitar teacher) from Worcester in the Cape sent me a magazine (“classical
guitar ”) from a book on guitar building. That book is where guitar making started for me. “Guitar making:
tradition and technology. ”It's basically about building the classic guitar and then going hand in hand with it
building steel strings that I haven't built yet.
So you only build classical guitars?
Yes, right now. I'm more interested in the classical guitar because I like its sound more. I
find it more fascinating and he also has a very interesting history. Anyway, that's where it all started
for me. I didn't really have any tools. I just went into "merchants" and looked what
wood I could find. I basically built my first guitar out of 'scrap'. I have Beachwood for the soundboard
and Honduras Mahogany for the sides. Right now, I'm borrowing that first guitar from my sister
's child, who in the meantime started seriously with music. He doesn't have a guitar, but in the meantime, until
he gets one
he plays with this one.
When did you finish it?
1996.
So you played guitar yourself from a young age?
Yes. My dad is actually the one who played guitar. He just has the guitar love with me and my sister
grown. I built my second guitar for her. One of her pupils then had a guitar with me
order and it was my first order.
You are quite unique in that you only build classical guitars. All of SA's other builders are building
steel strings too.
I think that's just how people approached them. Stefan Joubert has already approached me for what they call a
'tapping' guitar or 'touch guitar' where one plays with the 'finger tapping' technique and which consists of 13
strings and a double neck. However, my interest is not there. It's in the pipeline though, because it will
be a privilege to make such a 'performer' an instrument on which to play concerts. like
Smallman with Williams and Ramirez with Segovia, our SA builders also have top exposure
presenters needed. From a guitar builder's point of view, I can tell you it's great when the guitar
done, to hear it in someone's hands who can play. It's the guy who plays the sound to the
end of the day. If you put on the strings and that 'piece of furniture' comes alive and is born as an instrument and
he
getting into someone's hands that can play is definitely the highlight for me as a guitar builder.
Any other tools you build or work on?
No. Just guitars
You didn't start by making guitars right?

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No, I started building directly. In my life I have done few repairs. The little I do
has done more to fix small cracks here and there, etc.
It's something else where you're unique. Most builders first started by fixing guitars. Where you are however
not
unique is the work you do. So many guitar builders are architects or draftsmen, etc.
Yes. It's me, Garth Pickard, Colin Cleveland, Mervyn Davis. I think sign is a very important part of the
whole process of any manufacture. Anything that needs to be made must be drawn first and thoroughly
planned. I draw all my instruments before I build them.
You have no formal courses or apprenticeship, etc. receive, I assume, because there is not really so
is not something in SA?
The book I mentioned earlier was my only guide. At some point I had to improve
on that book, because it was a very basic design, based on Torres's layout. I got another one later
book that goes deeper into professional guitar builders and their works like….
I've been studying Romanillos and Friedrich for a long time and I think I'll stay on the Romanillos for a long
time
designed with regard to the 'Spruce' guitars. It doesn't work so well with "Cedar".
So books have had the biggest impact on your guitar building?
Yes. Books and the fact that I take the end product to people like Charl Lamprecht and Abri Jordaan, which is
great
have knowledge of guitars. They will show me where I can improve and then I'll go back and do it
homework and see if I can improve in those respects. I owe a lot to them for their contribution.
Is there one person who played a big role in your guitar building?
Romanillos I will place at the very top of the list. His rosette designs really impressed me. Instead of that little
one
mosaic blocks, he uses larger patterns that have quite influenced me. My rosettes are very different
the other SA guitar builders, who use the small squares concept more. It takes quite a while to
but it makes it special.
Is this the pattern you usually use to basically become your feature?
Yes, although I have now designed a new pattern on the computer and am deciding which
woods I will use where for contrast.
Is there a SA builder that has had a big influence on you?
Definitely, yes. Actually more than one. It's hard for me to date someone. We are all such good
friends. Mervyn is simply incredible to me when it comes to creativity. He comes with absolutely unique
designs. The rest of us build guitars using traditional methods. Mervyn did too,
but it almost bores him, I can say. His creativity is spurred by new designs, such as
for example, the guitar you are playing on. Colin Cleveland in the Cape is also an incentive for me. His sound
some of his guitars are very strong and distinctive. He has been building guitars for longer than anyone in
SA. Already far gone
the 200 building. Beautiful instruments with well-balanced sound throughout the spectrum. Garth I must
also exceptional with its small guitars. What he accomplished with that is fantastic.
If you classify all the SA guitar builders, Mervyn will definitely be at one extreme with his radical,
untraditional approach. Garth will again represent the other extreme with his highly traditional
approach. Where will you place yourself? Closer to Garth?
I'm somewhere in the middle, but definitely closer to Garth. I still have too much to do with the
traditional side with the 'fan bracing' for me to experiment with other methods.

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So you use 'fan bracing'?
Yes. Of course, it has many variations. I saw a book from Garth that I also bought for myself from
Torres instruments with a CD that shows everyone's sound, which is incredible. If you listen to it
then one always thinks you're too modern and you have to go back to the old traditions. I can say Garth's in that
respect
understand inspiration. The smaller guitars he builds are fascinating, but I think there is too little interest
in it with today's players. I like to stay on the 650 mm scale. I built one 640mm guitar.
Traditional Spanish remains my choice.
Would you like to experiment with lattice bracing in the future?
Yes. That's the plan.
Is there more that can go wrong with lattice bracing?
No what. I don't think so. I just think you're moving closer to the 'disaster zone', because you're going through a
lot
thin on your soundboard. A traditional guitar's soundboard is almost double the thickness of lattice braced
guitars.
Have you ever seen Mervyn's latest modular guitars?
Yes. I don't know how he thinks all this stuff. Do you know how that makes sense for that guitar?
mass production, because it is modular and can take apart? If each part only has its own 'gout' on which it
that guitar can easily be made in large volumes. It makes so much sense. Mervyn does
full time and I think is much more motivated to be creative because it's his bread and butter. It does
makes sense for him to make money and I really hope it works for him.
Would you like to build guitars full time one day?
Absolutely! From the beginning. I've been dreaming of it from day one. However, the market is small, so it can
be difficult. That's why I expand myself and start researching steel string instruments. If I do
need to allow me to build guitars full time, then I will.
Are there specific qualities that you strive for, whether aesthetically or in terms of sound in building you
guitars?
Yes. The look of the guitar is important, of course, but I don't think it's the most important thing. I
think your 'fretwork' and therefore your intonation, is the most important. Things like balance and sound are for
me too
very important. More so than the look. What I also focus on these days is the playability and
comfort ', which has to do with the action of the guitar. You as the presenter will agree with me that when
you play in a concert you have to be able to play pretty hard, so your action is absolutely critical that
concerned. A 'buzz' on a hard-playing guitar is absolutely unacceptable to me.
Depending on how you play, you're going to get a buzz here and there, so it depends on the quality of the
player to get good projection AND good sound. I'd like to strike a good balance between a good,
comfortable action and a nice sound. Mervyn, I think, did well. He offers the player a lot in that
respect, even in terms of reinforcement. His guitars break in at a different frequency, I think, which it is capable
of
set to play with other instruments such as violins and piano without getting lost.
I think to get the volume right with low action you have to have a terribly responsive soundboard. It is
where your lattice bracing is beneficial, but I have to say, after listening to the Torres recordings, think
I can make a lot more responsive instruments even with fan bracing, so I'm really excited
to experiment yet.
Garth Pickard and Rodney Stedall are not so positive about the whole 'lattice bracing' concept. They are
tend to think it's guitars that will lose their sound after a few years.

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Yes, I've been looking at some of Abri Jordan's guitars and I don't know how long that thin soundboard
that tremendous tension will not be able to bear. I also have to say that 'Spruce' is incredibly strong. There is not
a
other wood that can handle that tension for so long. This is absolutely fascinating.
Is it just 'Spruce' you use for your soundboards?
Yes. I haven't worked with 'Cedar' yet, but I would very much like to in the future. I went with 'Sitca
Spruce 'and California Redwood worked. The 'Sitca Spruce' is mainly used for steel string
guitars. He is a bit heavier than the European 'Spruce'. He gives you a very penetrating sound.
California Redwood crack easily, making it difficult to work with. He is also not very suitable for
classic guitars. He sounds nice, but doesn't have enough responsiveness.
This wood is all applicable to the soundboards. What wood do you use for the rest of the guitar?
My first guitar I made from 'Honduras Mahogany'. Furthermore, I mostly use Indian Rosewood.
I also have Brazilian Rosewood here that I will use. Furthermore, I also use "Maple", which is a
very impressive guitar making like Tarrega's Torres.
You don't use indigenous wood for your guitars at all?
No. I use it for decorations. For example, I use Red Ivory for the patterns in my rosettes.
Is there a reason why you don't use native woods?
I am very interested in it. What bothers me is the quality of the tracks is not always close
wishes, unless you, like Mervyn, have a bunch of stumps lying there that have been seasoned for years and he
cuts it
exactly as he wants it and then you have a perfect cut. I buy my boards and stuff from Germany and you
know you get a good cut. For example, I bought Black Ivory which is an awfully pretty wood and makes it
beautiful fingerboards.
Mervyn is excited about Kiaat and can't stop talking about it.
Yes I know. The thing is he gets such incredible results with it, so I can understand that.
I also use 'Bird's Eye Maple' for the front of the head of the guitar. Olive wood works
good for that too.
So with the sound-producing parts of the guitar, you use traditional imported woods while you
use indigenous woods in a decorating capacity?
Yes. I plan to make my next guitar from Brazilian Rosewood and 'Maple'. After that I will stay with
Indian Rosewood. Then I also want to introduce a cheaper model where I go "Honduras Mahogany"
use.
Other builders are struggling to get hold of Brazilian Rosewood. How did you manage and
do you plan to work with it in the future?
I was fortunate to find a stray piece of merchants in the Cape. This is always a problem
to get hold of. The great thing about it is quality.
Our guitar builders only use quarter sawn wood, but if you have Brazilian Rosewood in hand
you get it, no matter how it is cut.
What machine heads and tuning pegs do you use?
I import them from Germany. Mostly 'Schaller's'. I especially like the 'Ebony' buttons. I use too
sometimes 'Sloane'. I am very impressed with the quality and the play of the 'Sloane' due to the phosphorus

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bronze and the stainless steel worm. Of course one can go more expensive and e.g. Use "Rodgers", but then
you are looking at R11 000 for the cheapest.
Are there any tests you do when it comes to selecting your wood?
Unfortunately, because I order my wood from Germany, I can't choose it myself. What I do is order
top quality wood. When the wood comes here I will go through and listen to the 'tap tone'. So now and then
then I get a piece that is not top quality that I do not use then, but generally everything is
master grade wood - even and even grain and perfect 'quarter sawn' pieces with good 'run down', which
have to do with the direction of the grain and which determines how thin you can make the soundboard.
Do you use any other ornamental materials such as abalone?
Haven't used abalone yet, but I'm very interested in it. However, I prefer natural color
wood. In my rosettes I use wood such as Rosewood and Bubinga or 'African Rosewood', 'Origon
Pine ',' Maple 'and Olienhout.
Tell me a little more about the different 'bracing' designs you use.
I learned from that first book's design and then moved on to Romanillos's design. The big one
difference is Romanillos builds on the traditional Spanish method, where you can take his form on
a solera guitar
building. A Solera is a work plate on which the soundboard's part is hollowed out. So you force your
soundboard in
a 'dome'. It gives him extra strength, which means you can go thinner. I don't play around a lot
different designs. Although everything seems the same at first glance, one learns with every instrument of the
small differences and their influence. I would say I know Romanillos' design very well and feel it now
comfortable with it, so I don't feel I can improve much with it. I am now starting to look for other designs.
I have so many of my own wild ideas that I want to test some time ☺.
Regarding the specifications and dimensions - there is a specific standard pattern or shape that you
use?
The form is free in the sense that I do not force it into a 'jig'. I bend the sides but on that hot pipe and
I only test it on the profile of my guitar. I try to stay within a millimeter of my profile, but that
is quite a challenge. I've used different shapes already. Started with my own designs that I
myself, but I didn't like it very much and later moved to standard proportions.
However, the form is fairly free.
Does the climate help or hinder here when it comes to guitar building?
The climate is not too much of a problem. Especially in winter it is very nice, but there are times to come
the summer where a guy can't do much because of the humidity. However, to have an environment where one
has a
can maintain average humidity of 50%, cost too much for the amateur guitar builder and we stop.
If it starts to rain like this, then we stop. You can do many other things when it rains. You can not varnish if
it doesn't rain and you can't do your critical glue processes when it rains. That would be a fatal mistake.
Do you think guys in the Cape have a bigger problem in that regard?
I've talked to Colin Cleveland and Marc Maingard before and none of them complain and they stay up
the sea. It's incredible to me. For example, I don't know about a guitar builder in Durban. I take the
place where my guitar goes when I build it. A guitar that goes to the Cape, for example, I will glue
in between 50% and 55% humidity. My last one went to Welcome and I will not glue above 40%
no. Mevyn will say again that you do nothing above 20%.
Do you think beginner SA guitar builders will benefit from some of the more experienced guys
can start?
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I think the demand is unfortunately a bit small. When I started, I asked Marc Maingard if I didn't
one guitar can come and build with him, but he told me that he can't accommodate me unfortunately
and that his workshop is too small. Now that I'm sitting on the other side of the table, I understand that
it's hard to do something like that. I started with a book, then later a second book and then a video later
from America. I told my wife that if I really got the day off with guitar building and somebody would come
come to me and ask if I can help him, then I will help him, but I may have talked a little soon.
It's just a big challenge to help someone else build a guitar. I've already done this once.
I didn't ask him anything, but told him to teach someone too ☺.
What is your opinion on the general standard of the guitars built in SA?
As far as craftsmanship and looks are concerned, I will place Marc Maingard number one. His guitars are
really beautiful. He works with many beautiful materials and exotic wood and he has been in the business for a
very long time.
I've heard he doesn't use native wood because he believes it is not stable enough.
No wood is stable if not properly prepared. Even the most expensive overseas woods. That's why
Mervyn prepared his wood so well by leaving it outside for a very long time. The wood then breathes in that it
gets
moisture, lose moisture, get moisture, etc. And it's a really good way to prepare the wood. That's the best thing
for it
wood and the longer it happens, the better.
Colin Cleveland's guitars have a unique sound. Incredible instruments. Mervyn Davis's creativity is
tops. The sound that Garth Pickard gets with his smaller guitars is an inspiration and something I strive for.
Rodney Stedall is very enthusiastic and full of ideas. His instruments sound very good, especially his steel string
guitars.
How many guitars have you built?
I've already built ten, so I don't have the experience of a few others yet.
Do you work on more than one guitar at the same time?
No. I work with one at a time. You don't really save time when you build two at a time, unless you like
building ten at a time. If I start and concentrate on an instrument then I want to finish it. I have in May
2004 finished my previous guitar and haven't had a chance to start one again, with the
birth of our second baby. On average, I make about two a year.
Allistair Thomson is an experimenter in the true sense of the word. He will have no two guitars on
the same way. Then he tries this method, then that one. Then he uses this wood, then
that. He builds very nice instruments and is well equipped.
The general quality of SA guitars. Do you think it can be compared to international guitars?
I think there are some fairly experienced builders in our country who occasionally do unacceptable things to
them
do guitars, so we'll have to get rid of that type of stuff if we really want to compete with the overseas
market. I think the possibility is there for us to compete in terms of workmanship, as well
audio production if we focus on it a bit professionally. There are well-known overseas players that many
was impressed with our guitars, like Mike Wood, that I've met.
So is there anything SA builders can offer?
I think so and I'd love to see SA guitar players just look at what they can get locally - not
not just the instruments, but also the service - before looking in other directions. Many players are nameless and
it's hard to change their views. History is so rich of Spanish classical guitar and guitar
Segovia has hit such deep tracks, which is why Ramirez and all of his student guitar builders are doing so well
today. The same thing happened with Williams and Smallman.

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Is there an SA tradition in guitar building that one can identify?
Not in classical guitar, but in guitar in general. We just need to get more people who
interested in SA guitars. The problem is that one cannot make a living from student or beginner-
guitars cost R1000 and there are not very high level guitar players either, so the Koreans are very
successful with their cheaper guitars. If we can maybe set up a factory that big
can produce production guitars for the emerging student. I think it will do our country's good.
What are your ambitions and / or goals for the future?
At the top of the list I must say that I would like to build guitars full time. I also want to strive for the type
Build a guitar that a professional player like you would prefer to play above any other. I want a
maintain very high standard and build high quality guitars in terms of playability and sound. I think as
I am there, then the right people will be able to give me the exposure due to the quality of my guitars.
Do you think you will ever reach a stage where you feel you are at that level now?
No, I think you never get out of there. It's a dream you always strive for, for better and better
building guitars.
What type of tools do you use most often? Hand or electric?
I use the 'drum sander' a lot. If you go really thin with the wood I will finish the sanding with the
hand. One has to do the final finishing by hand for two reasons: First, because you have to
such thin material works and if you pull out a bite with the machine it is 'scrap'. I use a smooth
steel plate for the final, even finish. I will prepare the wood with the machine, but I do
most of the work with my hand.
What finish do you use?
I am very interested in 'French polish' but I will still have to do a lot of homework before I try it. On the
I am currently using a Plascon product. a 'Multiface wood laquer'. He doesn't scratch easily when he's hard
is not and you can put it up thick. He offers good protection and polishes beautifully. The 'nitrocellulose', to the
on the other hand, which I used for my first guitar, is a tin dish in that it shrinks in the period of a
year, so after a while the wood's grain goes through, so I'm not very impressed with SA 'nitrocellulose' and a
you can't import it because it can't be shipped, so now I'm just using Plascon.
How strongly do you lean on your plans and sketches?
The plans serve only as a guide. There are thicknesses and weights that you cannot determine on paper. I
work a lot on feeling, because no two pieces of wood are the same in your hand even though they are the same
species. I just rely on 'tap toes' for the soundboard wood. I kill him first, that he almost
sounds like nothing and then if you put on the 'strutting' he will come back alive. He must not have too much
life before the
'strutting', because the 'strutting' makes him stiff. At first I went out strictly according to plans
books worked for my first three guitars, but then you learn the process that gives you a little more freedom. now
I can focus more on specific results I want. So experience matters a lot.
What do you think about the future of the guitar building industry in SA?
It terrifies me that such beautiful instruments are of little interest to SA. I would love to see
that something is being done to give the people the right education to cultivate interest. I myself have
didn't even like classical music until I got the exposure to it. Because I wanted to hear
what a classic guitar should sound like, I bought myself a CD and I was so crazy about the
classical music. I wish I had learned to appreciate it sooner and I would like to see more people
will appreciate classical guitar in our country, but we will have to hold many concerts and exposure

because now there just aren't people. As our well-known players and teachers are only more contributing
attitude of Charl Lamprecht and Abri Jordaan, things will be much better already.
INTERVIEW CONDUCTED ON JUNE 27, 2005
You mentioned in our previous interview that your sister sent you a magazine and that it is all true
started. What was the magazine's name?
'Classical Guitar'. In the magazine was an advertisement for a book called 'Guitar making: Tradition
and technology 'by Campiagno and that book got me started.
What about the history of classical guitar you speak of that fascinates you so?
I think about Torres's time. Before Torres, I think I know too little to comment on. I
began to read a bit from Torres' time. Of course, I also have that CD of Torres's recordings
guitars. When you think about what happens in a guitar… no one can really tell you no, but when you hear what
happens when someone plays him, it's just incredible. You look at that soundboard now and you hear what's
coming
out and you try to explain it scientifically and physically, but you can't really do it. However, it does happen
nevertheless and it's just fascinating.
Would you say that for part-time guitar builders like you, that passion and excitement is important?
Many people come to me with a Yamaha and I don't look down on Yamaha at all, but they bring me a
instrument of say so R700. Then I have to spend 10 hours to fix that thing and it doesn't do it for me
makes no sense. I don't enjoy it and only do it if I can learn something from it. Stefan came to me
came with a cheap guitar and said he was looking for that guitar in an eight string. I said I can do it and
it has been a challenge. I had to change the head and make it longer for eight strings, but I got it
done for him. The strings were very close together, but he wanted it that way and it worked for
him. I did it only for the experience I could get from it. It is not financially worthwhile
and I'm not really "keen" to do that type of thing and I won't do it again. If I someday
full-time guitar building, of course, changes that. Then you have an income to think about, so I think in that
respect
are you going to take everything you can get. Even things that are uneconomical to do will also be done for that
customer may just be happy and send someone to you that will result in something that is going to be
economical.
Aren't you afraid you might lose your passion if one day you build full-time guitars?
No danger of it, no ☺. There may be frustrations, but that's it. I'm next
I have been building guitars for 10 years now and I have 12 guitars to show. It's actually pathetic. I want to build
it in
one year. In a bad year, I should not build less than 10. I'm not really a good business person,
but I would welcome any advice that could help me get there. When you start, there are questions like:
can i master the technique? How's the look going to be? You don't even think about sound, because you do
know nothing about it yet. Now, after 10 guitars, looks are still very important to me and the
craftsmanship, but my focus is more on the sound and the type of sound I'm going to get and what character the
going to have a guitar. Those kinds of questions are starting to become very important to me now. Things like
playability and
sound quality.
Where would you like to improve in terms of your guitars?
The playability of the guitar and always the sound, right.
Do you ever reach a sound where you feel you have reached it now?

239
No, I don't think it's possible. I think the direction in which Smallman was moving has shown us that
where you win in one field, you lose again in another. Everyone might not agree with it completely.
I don't want to tear it down. Smallman makes exceptional instruments. All I'm saying is that he didn't
that traditional Spanish sound I like in a guitar.
Are you saying that Romanillos' rosette designs have influenced you greatly?
Yes. I have to say it really affected me a lot. Determine the contrast you get with different types of wood
whether you get it right and it works.
You also mentioned last night that Colin Cleveland in the Cape is also an incentive for you, especially she
distinctive sound.
Yes. His Torres design is also very good, but his lattice bracing experiments are his
guitars give that sound. There is an astronomical difference between those guitars and others. The specific guitar
of him who belongs to Abri Jordan is simply incredible. There's just something about it.
What else do you want to do in terms of fan bracing?
I will now start with the next step. It can also turn into a thing of many years. I still have
my own ideas that I want to experiment with that are totally different from what I do now. A theory
or two. Many of them I have already written off and not even tried. In the beginning you have all kinds of ideas
that you
thinking can work, but now you know it was actually a lot of nonsense.
You last mentioned that you feel your 'fret' work and therefore your intonation is the most important aspect
the guitar?
Yes. The intonation and accuracy of your placement of your 'frets'. Everything about your 'fret' work is
important, including 'leveling' your 'frets'. You know how annoying it can be when you get a 'buzz'
and you have to compensate so as not to hear that buzz. You are so aware of it. I want the
player must be free to live on an instrument. That's why I think it's important that
the guitar builder must also have very close ties with the player in respect of the requirements of the player.
The biggest challenge for me is getting the playability all right, because it's the hardest
Share. I think my experience is still a bit limited in that respect. Watch Garth Pickard's guitars all buzz
me. The whole lot of them 'buzz', but he has a fantastic action on those guitars. I'm talking about his now
classical guitars. There comes the preference. For any guy, it's going to feel great to be on those guitars
play. Someone like Abri Jordaan says he has to hold back all the time to keep it from buzzing, so she
preference is not to have such low action. Where does it benefit me as a builder to get a norm? There is not a
norm. If you come to me and ask to build a guitar I will ask you to give an example of what
is an ideal guitar for you. If you say that's what you're looking for, then I can give it to you, but I can't give you
anything
give and say it will be ideal for you and I do not know what you want. So it's hard. I've already had people
who played on my guitars and said it was too hard to play. James Grace is an example. He
played him and said no, it's too high for him. I think he and you are basically in the same category. I
think it is absolutely a personal thing. You are privileged if you know who you are building a guitar for. You
can do that then
doing right because it affects the neck and things of the neck.
Mervyn says the angle of the neck affects the sound more than the 'strutting'.
You will see with Colin Cleveland's guitars how big that corner is. You will see that fingerboard
is very high above the soundboard. The neck is completely raised at a very sharp angle. He also has double
holes on the bridge because if you make a normal knot, the knot can only be at the top of the
'tie block' and then the 'saddle'. With a double hole in the tie block he comes out from underneath
up, so it gives you a sharper angle over the 'saddle'. He had to do it, otherwise he would have a 'buzz'
had. He says it affects the volume. I don't know if it's the soundboard that does it or the
corner of the 'saddle'. With Mervyn's guitars it's much the same. Where other guitars strings the
print soundboard, pull it up.

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Rodney Stedall is forcing his soundboards into a 'dome' shape. What is your view on this?
I have been doing this for the last 10 guitars and it is absolutely necessary for me. I got the first two
guitars not judged ', but my first' stupid 'guitar made such a huge difference that it didn't
is not debatable. You force the soundboard into peak tension. That is the one advantage I will say. The other
thing is that because he is in a 'dome' you can make him lighter. Something that is 'collapse' is more difficult
than
something that is flat. It gives you strength before you even start looking at the 'bracing'.
What are your views on 'French polishing'?
It is the lightest finish you can put up. Abri and I talked about the same thing on Saturday. I suggest a lot
interest in it. Of course, it is much more labor intensive. I think my 'custom' guitars will be 'French'
polish 'because it's so earth-intensive. I use a 'laquer' and I try to keep it as thin as possible.
On the soundboard I only use 4 layers, most of which I sand off. So I can't tell you in
weight gain how it compares to 'French polishing'. I can say that 'French polishing' is a lot
thin and very light. This is a minimum weight gain for the guitar. I know Alistair uses Thomson
"Nitrocellulose. I used it too, but it takes a very long time. You have to release 'nitrocellulose' for three months
before you finally polish it if you want a good result. I made the mistake of not being around long enough
don't wait. It's bad for a guy's guitars if people say the guitar sounds nice, but look what the thing looks like ☺.
Both Rodney and Garth feel that 'French polishing' doesn't necessarily take longer than others
finishes.
Yes. It doesn't quite look like a laquer, so if it is your preference, it will be hard to please
set. The guys who are "experts" in that area's guitars look incredible.
What was the second book that influenced you?
Roy Courtnall's 'Making master guitars'. Then I ordered two videos from America. One was left
"French polishing for guitar makers" by Fernandez and the other one was by the same person -
'Classical and flamenco guitar making'. Alistair was a great inspiration to me at the beginning as well. he has
helped me a lot with 'fret' work and that kind of stuff.
Do you think the guitar's construction will change much over the next 100 years?
Not really. With the construction of the classic guitar, many new things have come and gone
many people move back to the old, original stuff. There are many variations of Torres's
original design. All of them will be around Torres. Colin Cleveland is an example
thereof. I met Colin at the same time I met Alistair - around 1997. Then he did
seriously looking at the Smallman construction. First with the light back and then with the carved back. He
have built guitars on that method until this year and got excellent results, as you know, but
when I last spoke to him, about a week ago, he was experimenting with Friedrich with a
light backside - not carved back. His last guitar is a 'Cedar' in Brazilian Rosewood, so I'm a lot
curious. He says he's so impressed with the thing, because I sent him the plans. That guy is like that
quickly. A week after I sent him the plans, he called me and said he had built one. he has
basically the 'top' made and directed to another guitar. He says the sound is fantastic. A month later I speak
again with him, then he built another Brazilian Rosewood ☺. Marc Maingard's guitars I place
aesthetically still at the top of the list. I've already seen quite a few guitars from him. I have Ann Ludwig's
Marc Maingard had classical guitar here. She brought him in for a change and the bridge's position
was out by about 3mm and I had to change the hall for her to get the intonation right, because it was
totally out of it. However, if you look at that guitar, it only has a scale length of 610mm. It's a small one
guitar. 'Cedar' with Indian Rosewood and a 'cutaway' and that guitar sounds awfully nice. He has a
sweet sound and he looks very pretty. Tony Cox also has a 'nice' Maingard that he plays on. The speller,
Again, make a big difference. One has to be careful when judging a guitar's sound, because
the same guitar in 2 different people's hands sounds different. Charl Lamprecht makes a nice sound, doesn't he?

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What fascinates me about the 'lattice' guitars is the power of the instrument. Which helps it play a guy
fantastic but it sounds like a whisper in a hall? If you strengthen a guitar, then you lose so much, if you do
can get its acoustic sound strong, then it's a big advantage and the 'lattice' does it immediately for you.
This is probably the only reason why "lattice bracing" has become popular. The only benefit that
it holds up is the volume.
Yes. That's just the power. If I can quote Charl who played on a Smallman, he says about the color
of the guitar that it is noteworthy that when you, for example, have an A on the first and on the second string
play, they sound identical. There is not really a difference in color between those two notes. Whether this is an
advantage
or a disadvantage, I do not know. I like color varieties on a guitar. I prefer it because it gives you a
choice. Note sounds to me the most beautiful on the middle register. Your vibrato is also much more effective. I
likes the sul tasto sound more than the ponticello. Every guy has his preference and so does one
don't have too much of a tunnel vision, I would say. My approach would be that if anyone has an instrument
with me
he wants me to give me an example he likes and I consider it a challenge.

Original text
INTERVIEW CONDUCTED ON 7 NOVEMBER 2004
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