Brian's Guitars
Here are some photos of my guitars at various stages of construction.
~ Click on the photo to enlarge it ~ Use the back arrow to return ~
I currently have one cypress flamenco in
stock at $5500. It has an Adirondack spruce
soundboard, Mendocino cypress back and
sides, Spanish cedar neck, and ebony
fingerboard. Binding is Brazilian rosewood,
as are the bridge and head facing, and the
trim is full mitered back and side purfling, in
the style of the Madrid builders.
I make my own rosettes, and black-white
stringing (purfling), using holly for white,
black dyed pear for black, and cherry in the
rosette for medium brown. Decorative rings
in the rosette are Brazilian rosewood.
The fingerboard is crowned to an 18" radius
at the nut, and a 28" radius at the 19th fret, a
"conical section". This aids in playing
barred chords, as the shape of the
fingerboard matches the curve of your left
index finger. I use a large cross section
fretwire, #075 from Luthiers Mercantile, for
the ease of left hand action that it gives.
Machine heads are bronze Sloanes, with
ivoroid buttons. These are excellent quality
tuners, used by many of the best classic
builders.
The finish is French polished shellac ~ not
bulletproof, but it's the most beautiful
looking finish, and the best for the tone of the
instrument.
stock at $5500. It has an Adirondack spruce
soundboard, Mendocino cypress back and
sides, Spanish cedar neck, and ebony
fingerboard. Binding is Brazilian rosewood,
as are the bridge and head facing, and the
trim is full mitered back and side purfling, in
the style of the Madrid builders.
I make my own rosettes, and black-white
stringing (purfling), using holly for white,
black dyed pear for black, and cherry in the
rosette for medium brown. Decorative rings
in the rosette are Brazilian rosewood.
The fingerboard is crowned to an 18" radius
at the nut, and a 28" radius at the 19th fret, a
"conical section". This aids in playing
barred chords, as the shape of the
fingerboard matches the curve of your left
index finger. I use a large cross section
fretwire, #075 from Luthiers Mercantile, for
the ease of left hand action that it gives.
Machine heads are bronze Sloanes, with
ivoroid buttons. These are excellent quality
tuners, used by many of the best classic
builders.
The finish is French polished shellac ~ not
bulletproof, but it's the most beautiful
looking finish, and the best for the tone of the
instrument.
The nut, bridge saddle, and bridge tie-block
inlays, are bone, which is superior to all
other materials currently available for these
purposes.
Traditional hot hide glue is used throughout
the body of the instrument for its heat
resistance, which is superior to modern
polyvinyl glues. Though I haven't been able
to prove it yet, I believe that it's also
acoustically superior to the polyvinyls.
The instrument comes with a Richard Bruné
double arched, hardshell case, with "flight"
cases available at an additional cost.
I give a free "Ten thousand note tune-up"
with each guitar, usually after six months or
so of playing. A new instrument always
changes in small ways as it settles in, and
this gives me a chance to take care of any
minor adjustments that need to be made to
suit the playing style of the owner.
I guarantee my instruments against defects in
materials and workmanship for the life of the
builder. Beyond that it would be a bit
difficult for me to go. This guarantee extends
to any new owners as well. I take a lot of
pride in my work, and it's a bit like having
one's children come home for a visit when
someone brings one of my guitars back to my
shop.
inlays, are bone, which is superior to all
other materials currently available for these
purposes.
Traditional hot hide glue is used throughout
the body of the instrument for its heat
resistance, which is superior to modern
polyvinyl glues. Though I haven't been able
to prove it yet, I believe that it's also
acoustically superior to the polyvinyls.
The instrument comes with a Richard Bruné
double arched, hardshell case, with "flight"
cases available at an additional cost.
I give a free "Ten thousand note tune-up"
with each guitar, usually after six months or
so of playing. A new instrument always
changes in small ways as it settles in, and
this gives me a chance to take care of any
minor adjustments that need to be made to
suit the playing style of the owner.
I guarantee my instruments against defects in
materials and workmanship for the life of the
builder. Beyond that it would be a bit
difficult for me to go. This guarantee extends
to any new owners as well. I take a lot of
pride in my work, and it's a bit like having
one's children come home for a visit when
someone brings one of my guitars back to my
shop.
____________________________________
____________________________________
My guitar plans are available in four combinations:
~ Classical ~ standard plan, 65cm string length
~ larger plan, 65cm string length
~ Flamenco ~ standard plan, 65cm string length
~ larger plan, 65cm string length
~ Classical ~ standard plan, 65cm string length
~ larger plan, 65cm string length
~ Flamenco ~ standard plan, 65cm string length
~ larger plan, 65cm string length
Standard is the size plan used by the Madrid
builders of the '20's and 30's, as well as
Hermann Hauser I.
The larger plan is only about 2% larger than the
standard, and is more nearly the size used by
modern builders. The idea is for it to voice its air
resonance a half step lower, and give slightly
more bass.
The Flamenco plans have a lower bridge saddle,
and a slightly smaller bridge, but are otherwise
identical to the classical.
builders of the '20's and 30's, as well as
Hermann Hauser I.
The larger plan is only about 2% larger than the
standard, and is more nearly the size used by
modern builders. The idea is for it to voice its air
resonance a half step lower, and give slightly
more bass.
The Flamenco plans have a lower bridge saddle,
and a slightly smaller bridge, but are otherwise
identical to the classical.
Full Size Guitar Plans
A set of plans includes three full size sheets,
and two letter size pages.
One of the letter size pages gives all the
details of bridge construction, and the other
shows my method of attaching the neck
using the Spanish heel.
Cost per set is $35 post paid in the US.
International orders are $40 post paid.
You can order by email:
burnsguitar@yahoo.com
or by phone:
Toll free in the US: 866-214-9472
International: 707-961-1064
and two letter size pages.
One of the letter size pages gives all the
details of bridge construction, and the other
shows my method of attaching the neck
using the Spanish heel.
Cost per set is $35 post paid in the US.
International orders are $40 post paid.
You can order by email:
burnsguitar@yahoo.com
or by phone:
Toll free in the US: 866-214-9472
International: 707-961-1064
| * Scroll down for * full size * guitar plans * |
For the Technically Minded:
These plans are of my new soundboard bracing pattern,
with open cross-bars, and cross-grain fans extending from
the ends of the bridge.
The open cross-bars, and the fans that extend up into the
upper bout, add a resonance that I call a "long tripole". It
occurs around the 7th fret of the first string, and gives a
boost to the upper treble right where it can use it. I'm
indebted to Jeff Elliott for the idea.
The cross-grain fans at the ends of the bridge add
considerable cross-grain stiffness. They raise the
frequency of the cross dipole and cross tripole, while
leaving the main top resonance and long dipole nearly
where they were. They are considerably easier to fit than
the traditional bridge plate, or Bouchet brace, and are
lighter weight as well. The result seems to be a smoother
response across the guitars range.
These plans are of my new soundboard bracing pattern,
with open cross-bars, and cross-grain fans extending from
the ends of the bridge.
The open cross-bars, and the fans that extend up into the
upper bout, add a resonance that I call a "long tripole". It
occurs around the 7th fret of the first string, and gives a
boost to the upper treble right where it can use it. I'm
indebted to Jeff Elliott for the idea.
The cross-grain fans at the ends of the bridge add
considerable cross-grain stiffness. They raise the
frequency of the cross dipole and cross tripole, while
leaving the main top resonance and long dipole nearly
where they were. They are considerably easier to fit than
the traditional bridge plate, or Bouchet brace, and are
lighter weight as well. The result seems to be a smoother
response across the guitars range.