Antonio Torres "La Suprema" 1864 FE 19 style Classical Guitar: It's Completed and For Sale!
Torres assembled his guitars face down on the solera, having the plantilla of the guitar already cut to shape.
Jose L. Romanillos, Antonio de Torres, Guitar Maker, 1987
THIS GUITAR HAS SOLD!
Jose L. Romanillos, Antonio de Torres, Guitar Maker, 1987
THIS GUITAR HAS SOLD!
I recently finished a guitar that is based upon Antonio Torres's guitar FE 19, aka "La Suprema", which he constructed in 1864. Click here to see the plans that I used to make this guitar.
It has an Engelmann spruce top, California laurel back and sides, Spanish cedar neck, an Macassar ebony fret board, ebony binding and is French polished.
The string length is 650mm, width of the neck at the nut is 51.5mm and 62mm at the 12th fret.
I did not use the standard Torres style of "fan" or "kite" bracing on the guitar's top, instead I used a parallel bracing that Santos Hernandez used on several of his guitars. This bracing helps give the guitar a very beautiful, singing voice that is quite loud, its volume is more than adequate for a concert guitar. Another change from the original guitar that I made was not to install a brass"tornavoz". Click here to learn more about this device.
Santos parallel bracing
The back and sides are California laurel that I re-sawed, by hand with a Disston No.8 rip saw, from a board that I purchased from a wood supplier in Orick, California. Many of the old time loggers and lumberman that I grew up with in northeastern California called laurel "pepperwood" because when you cut into it, it smells like pepper. Other people call it Oregon myrtle. Luthier John Calkin states:
"This is yet another wood that reminds me of maple in appearance and working properties, though its' texture is a bit coarser. Its basic straw color is often flavored with an amazing array of colors and figure, most frequently a maple-ish fiddleback. Myrtle has a reputation for instability that I have yet to experience. Tonewood suppliers occasionally stock sets of myrtle, but if you can resaw, the specialty lumber people like Lewis Judy can give you a better deal on this West Coast wood. This is first-class stuff, worthy of the best instruments."
(Click here for his article on alternative tone woods.)
This is not a flamenco blanca guitar, but a classical guitar.
I firmly believe that the laurel back and sides add much to the voice of this guitar.
If you have any questions please feel free to contact me at highcountrylutherie@gmail.com.
It has an Engelmann spruce top, California laurel back and sides, Spanish cedar neck, an Macassar ebony fret board, ebony binding and is French polished.
The string length is 650mm, width of the neck at the nut is 51.5mm and 62mm at the 12th fret.
I did not use the standard Torres style of "fan" or "kite" bracing on the guitar's top, instead I used a parallel bracing that Santos Hernandez used on several of his guitars. This bracing helps give the guitar a very beautiful, singing voice that is quite loud, its volume is more than adequate for a concert guitar. Another change from the original guitar that I made was not to install a brass"tornavoz". Click here to learn more about this device.
The back and sides are California laurel that I re-sawed, by hand with a Disston No.8 rip saw, from a board that I purchased from a wood supplier in Orick, California. Many of the old time loggers and lumberman that I grew up with in northeastern California called laurel "pepperwood" because when you cut into it, it smells like pepper. Other people call it Oregon myrtle. Luthier John Calkin states:
"This is yet another wood that reminds me of maple in appearance and working properties, though its' texture is a bit coarser. Its basic straw color is often flavored with an amazing array of colors and figure, most frequently a maple-ish fiddleback. Myrtle has a reputation for instability that I have yet to experience. Tonewood suppliers occasionally stock sets of myrtle, but if you can resaw, the specialty lumber people like Lewis Judy can give you a better deal on this West Coast wood. This is first-class stuff, worthy of the best instruments."
(Click here for his article on alternative tone woods.)
This is not a flamenco blanca guitar, but a classical guitar.
I firmly believe that the laurel back and sides add much to the voice of this guitar.
If you have any questions please feel free to contact me at highcountrylutherie@gmail.com.
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