Here you can find an overview of the various models I make, and a brief history of their evolution. Photo links take you to pages with examples of those models.
I currently have eight different body shapes available, and several different bracing styles, resulting in quite a number of permutations for different builds, which, when combined with variations in timber and scale-length becomes even greater.
The models can basically be divided into two types, full size and small bodied. There are four full size guitar shapes, and three small bodied ones, plus one which falls in between these classifications.
The four full size shapes are all in the Spanish tradition. Two have evolved through a series of my own plantillas over the years into models 12 and 13. Two are copies of historical shapes by Santos-Hernandez and Hauser I, models 14 and 17. Model 12 is my standard concert classical shape and makes up the larger part of my output, while model 13 is a slightly bigger version, which gets asked for occasionally. They can be built with either fan, long-bar, or X-bracing for the top. The Bream/Hauser model 17 is a copy of a 1940 guitar which Julian Bream played for many years - I've built five of these in the last couple of years. The Santos-Hernandez model 14, a copy of a 1928 flamenco guitar has only had a single outing as I rarely get asked to build flamencos. I have also used my model 12 body for flamenco guitars.
In the small-bodied class there are three historical shapes by Torres (model 08), a very small Spanish 19th century one of unknown make (model 16), and a mid 19th century body by the Roudhloff brothers ( model 18). The Torres model 08 is Spanish in origin, obviously, while the Roudhloff shape, although built in England, is French in style. Model 08 is my standard small-bodied classical shape, and I have used it a lot, both with Torres style fan-bracing and with an X-braced pattern. The tiny model 16 was built to be a strumming instrument. The Roudhloff model 18 is an 8 string guitar in which I used an X-braced pattern similar to the Roudhloff's own X-braced design.
The in between size model 15 is basically a steel-string shape, which I was asked to do as a one-off for a crossover guitar.
The model numbering system indicates the chronological order ( not the year) of the shapes' creation. Below I have grouped them according to size for a little more clarity.
Model 12 - my standard full-size shape for classical, flamenco or crossover guitars. Any of my bracing systems can be employed in it. This plantilla evolved from an earlier design (model 04 originally) which was inspired by a 1932 Domingo Esteso guitar.
Model 13 - basically a slightly larger version of 12.
Model 17 - First built in 2015 - a copy of a 1940 Hermann Hauser I that Julian Bream played for many years, on which I did some restoration work before he returned it to its owners, the Augustine family in New York, where it now resides in the Metropolitan Museum.
Model 14 - this one is a copy of a 1929 Santos-Hernandez flamenco guitar, which I restored some years ago. I greatly admire the work of Santos-Hernandez since seeing a number of his guitars, which were (are) remarkable. No surprise that I use this for flamenco guitars, although there is no reason why it can't be used for classicals too.
Model 08 - a small-bodied shape based on Torres F.E.13. It can be used for Torres copies or with other bracing designs, X-brace for instance.
Model 18 - the latest arrival is a small mid 19th century body shape by the Roudhloff brothers, which I used recently for an 8-string guitar.
Model 16 - this very curvy and small-bodied C19th shape was used for a custom build - a nylon 12-string strumming guitar.
Model 15 - this was designed for a custom guitar using my client's steel-string guitar shape as inspiration. Nice for an X-brace nylon finger-picking guitar.
See bracing design pages:
Brief history of the different models
For my first guitar in 1993 I used a 1943 Hermann Hauser body shape.
My second was a copy of Torres First Epoch small-bodied guitar, and my third was a shape of my own design under the influence of Torres and Hauser. As time went on my design evolved through models 4, 5, 6, and 7 inspired by a 1932 guitar of Domingo Esteso.
The plantillas of model numbers 08 and 10 are copies of two very different Torres' guitars, one from each of his two building epochs. Model 08 was a revision of my first small-bodied Torres shape used in my 2nd guitar and is of similar dimensions. Based on F.E.13, a small and elegant guitar which Torres made in 1860. Apparently Miguel Llobet may have owned this guitar, but later it was owned by Hauser I who used the pattern for his own instruments. Model 10 is based on a guitar from Torres' second building epoch, S.E.83 built in 1885. This was an eleven-string guitar with a much larger and more robust shape compared to Torres' first building epoch guitars, although still small by today's standards.Within my range of body shapes this Torres S.E.83 model 10 was a bit betwixt and between in terms of size and later I abandoned it. However, I continue to use the F.E.13 model 08 shape whenever a small-bodied guitar is called for.
Meanwhile, model 7 evolved into models 12 and 13 as my standard concert size guitars, which I still use today.
In 2010 I added a Santos-Hernandez shape, model 14, a copy of the 1929 guitar which I restored some years previously, and used it for a flamenco guitar.
Model 15 was a custom build - it derives from a steel-string guitar shape that my client liked, and it has that look - a shorter body and a fuller lower bout. It is a crossover design, well-suited to the X-brace pattern.
Model 16 is a very small body shape inspired by a 19th century spanish guitar of unknown make. It was used for a custom 12-string design - a fusion of renaissance and nineteenth century design. I used my Long-Bar pattern for this one.
In 2015 I made a copy of the 1940 Hauser I, which I restored for Julian Bream prior to its return to the Augustine family. This is my model 17. It made a very beautiful instrument that has exceeded my expectations - I sold it immediately and started building another one straight away. As a result the Hauser I/Bream 1940 model became a permanent fixture. I've made 5 copies so far, the latest being a shorter scale (640mm) version, which you can hear and see here.
In 2017 I was commissioned to make an 8-string guitar using a Roudhloff brothers' body shape and a short scale-length of 600mm. The original guitar used transverse bracing, but I decided to use an X-braced top for this - it was a Roudhloff X-braced guitar which inspired me to try the X in the first place about 10 years ago - since then I have used it in several of my body shapes, large and small, so i was confident it would work well. I was also keen to try it out in one of their own body shapes. The result far exceeded both my expectations, and the client's. This will be model 18 - Roudhloff. The effect of having extra lower tuned basses is wonderful, and the string voicing/separation is outstanding in a small box like this. The X- brace provides evenness and good sustain everywhere, and the short scale-length makes for easy playing. Also plenty of tone-colour available. It would work well as a 6 string guitar too, of course.