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After waiting two years, she finally arrived last Friday; the wait has certainly been worth it. Even though the spruce soundboard has not fully developed, this guitar already slightly out-performs my 2004 cedar double top from the same builder, Larry Breslin, even though his latest classical design is more diminutive, with a tighter waist and smaller upper bout. I am shocked and extremely pleased!

The tapa produces excellent tonal clarity with a brilliant upper register, yet it creates tremendous depth in the bass register as well; projection is incredible. Can someone like me, whose ear tends to cedar and its warmth, actually be converted? Until now, I thought not, but I stand corrected before you. I'll play the cedar instrument for things I think require more overall warmth in all registers, but this spruce guitar is more versatile.

A full photo essay is available on my website:

www.trentonscott.com/deerheadSpruceDouble.shtml

I've included a few photos here as well:







Here are the specifications:

Overall Design: Classical, spruce double top
Commissioned: January, 2005
Delivery: January, 2007
Scale: 650mm
Soundboard/Tapa: Engelmann spruce, Wagner/Dammann double top Nomex design
Tapa Bracing: Engelmann spruce, adapted Rodriguez design
Back: Brazilian rosewood, air dried 40 years
Sides: Brazilian rosewood with cypress ribs
Neck: Cuban cedar, thin-line shape, 20mm thickness
Nut: 51mm, pre-ban elephant ivory
Fingerboard: Ebony, hidden fret tang design, 7th position side marker and 20th fret
Headstock: Cuban cedar with Brazilian rosewood and white laminate veneers
Tuning Machines: Nicolo Alessi "Leaves" with mother-of-pearl buttons
Binding: Ebony with maple trim
Rosette: Diamonds, contrasting rings and black outer rope
Bridge: East Indian rosewood, 12-hole tie block and mother-of-pearl inlay
Saddle: Pre-ban elephant ivory with easy-lift lip design
Finish: French polished top, Nitrocellulose lacquer back/sides

I agree fine looking instrument. Thanks for sharing it. I'd like a closeup of the bridge? It looks a bit different, or am I seeing things. Congratulations Trenton. Will take a look at your site too.



Found it, that MOP inlay caught my eye as different than standard. Nice upgrade. Bruce Dickey39111.4092939815

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http://www.dickeyguitars.com

[QUOTE=ToddStock] Think there's enough silk in that top?[/QUOTE]

That's one of the reasons why (1) Breslin stocked the set and (2) why I picked it out of his stash!

;->

This raises a question in my mind: Is too much silk a bad thing? Or is more always better, etc. Seriously, I'm not sure!SonicAgamemnon39111.6877893519

Trenton,

Thanks for the photo documentation on your site. You obviously love guitars, and it's nice to see them from a player's viewpoint once in a while.

This one sure looks pretty. Gotta admire that hand-made rosette, and those Alessi machines are stunning!

You know, I'm not surprised that you're getting a good sound from your spruce top. Even if it weren't a double top I think, in the right builder's hands, spruce is a superior choice for classical guitars--most especially if they're going to be used for concertizing. Unamplified cedar guitars, in my experience as a listener, tend to sound weak and muddy in a medium to large-sized hall; and cedar seems to be too easily overdriven. Spruce, on the other hand, seems to project better, note separation is clearer, and spruce tops don't seem to overdrive as readily during "forte" chordal passages. The "warmth" of cedar sounds great to a player while rehearsing, but is lost if an audience can't hear it.

Trenton, what a gorgeous instrument, i can only imagine the joy you felt upon delivery and hearing her first notes, happy for you!

Thanks for the link to your photo essay, great pics of the progress as it went!

Serge

[QUOTE=Serge Poirier]Thanks for the link to your photo essay, great pics of the progress as it went![/QUOTE]

Thank you for visiting. After selecting the wood, I just love following actual construction. It's a special time and I wanted to record it somehow and share it...