Introduction
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This statement will bear keeping in mind, how you treat your woods during construction is more important than using rare and costly woods. There are many instruments on the planet built of the finest wood available that lack good sound. For a beginner common sense dictates that you cut your teeth on common woods. Proof of this statement is as follows----woods in instruments that are still in use built by Antonio Torres and Guarneri Del Gesu seldom were first class but their skill in construction gave them the ability to produce quality sound. They understood how to spring the wood to make an efficient box to move the air. for example the fan braces on a classical guitar top become springs when locked into the parabolic dish of the solera (work board) . The pattern of the fan braces is not as critical as their springing and shape, proof of this is the many guitars in existence producing good sound with different fan brace patterns ,and the many great builders of our time who are constantly changing their patterns with and producing good sound. The violin in its arches which act as springs and its base bar which acts in concert with the sound post to move the top and back plates to effectively move air is another but different example of springing. The manner in which the plates are graduated the shape of the curvature of the plates is treated, the shape of the body and the air chamber it produces have an effect on the finished sound--- basic dimensions have evolved through trial and error down through the centuries these dimensions work and that is why Antonio de Torres style of construction is emulated in this series. To attempt to build in the style of Torres would have been impossible for me save for the wonderful times we live in. The book Antonio de Torres guitar maker --his life and work --by Jose l. Romanillos was given to me by Robert Ruck guitar maker this planted the seed. I proceeded to enlarge the plans from Romanillos book to create a plantilla (p/an). Hence forth all of you have Mr. Romanillos to thank for his great book which I recommend you read. The guild of American Luthiers publication series ---American Lutherie number 33 / spring 1993 page 18 has an article by R. E. Brune Torres' guitar restoration his insights as to Torres construction, and photos are a must. Mr. Brune is a guitar maker and guitar historian. A membership in the Guild of American Luthiers 8222 south park avenue, Tacoma, WA. 98408 phone 206 472 7853 would be a good source of information and contact with other makers for you they publish quarterly and hold conventions every few years the emphasis of the publication is educational. Read la guitarira espanola--the Spanish guitar - by Museo Municipal, Madrid and the Metropolitan museum of art, New York. I hope this learning experience will be a pleasant one. You have undertaken a long process be patient with yourself. My methods are not the final word on classical guitar construction when you see a way to improve---do it. Neil Osberg
Thanks to Ross Kowalski, teacher, web author, artist, photographer who did the technical work implementing this site and technical advice to the author.