I was delighted to receive an email and some photos from Richard
of his guitar. I built this 12 string Dreadnought in 1980. The body is longer than a standard D shape as
it is designed for a 12 fret neck. Richard commissioned it from the London Guitar Gallery and is still playing it.
This is an ongoing project; an archive of the many instruments that I have built over the years. If you have a photo, video clip or sound recording of your “Nava” and would like to have it included here, please let me know. Thanks for looking and be sure to come back- there’s bound to be something else to see! Cheers Gary
Showing posts with label London Guitar Gallery. Show all posts
Showing posts with label London Guitar Gallery. Show all posts
Monday, 4 May 2015
Tuesday, 25 February 2014
London Guitar Gallery Cutaway Jumbo
As far as big guitars go, I’ve always preferred the more curvaceous
look of the Gibson jumbo compared to dreadnought shape. I built two cutaway
jumbos whilst at the London College of Furniture, the first I destroyed (all
part of the learning process) and the second, a Brazilian tulipwood one, was much
more successful and was sold in 1979 via the London Guitar Gallery.
Whilst at the gallery I built two more jumbo cutaways, an Indian
rosewood one and a maple one.
Phil Hare met this gentleman (sorry Sir, I don’t know your name)
at a folk club in 2013 with his vintage Nava. So above, is that maple jumbo built in October 1979 and in the
background you can just see Phil’s guitar made by me in 2011!
Monday, 24 February 2014
London Guitar Gallery 12 fret Steel String
This guitar is a demonstration model that I built in 1979 whilst at
the London Guitar Gallery. The shape was based on my classical guitar body with
the addition (or is it subtraction?) of a cutaway. For many people, the 12 fret
neck with a cutaway body is the perfect set-up. The bridge is in the sweet-spot
and the cutaway allows access to the upper frets. This one was made with a
maple body and a German spruce top. My son now owns it and when I played it recently I
was surprised by how light it was and its wonderful resonance; it’s certainly opened
up! If I remember correctly, two rosewood versions were built for customers. As a
point of interest, head shape is still used on many of my mandolins.
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