Tasmanian Tiger Myrtle Classical - FINISHED!!!

[Gregory USA]

Ladies and Gentlemen- I proudly present the completed Tasmanian Tiger Myrtle Classical guitar. Finally got her done last week, stings on, and I have only put her down long enough to take these pictures. You may remember a post almost a month ago as she was under construction as I was in class with my teacher Robbie O'Brien.

Very nice sounding balanced guitar, especially loud, remarkable trebles on the hi E and b strings. Easy to play, feels good, featherweight, looks nice. Working the wood reminded me alot of Spanish Cypress, and the tone is somewhat comparable. This Tasmanian Tiger Myrtle would make outstanding flamenco guitars!

She's been finished with a French Polish of Super Blonde Shellac, and then hand-rubbed to her final sheen with a glazing wax.

Master Grade German Spruce top
Tasmanian Tiger myrtle components (all from ColonialTonewoods.com)
African ebony bindings
African Blackwood fingerboard and bridge
Gotoh Premium Classical Tuners

Lots of pics below. Tell me what you like or dislike about this one.

Gregory

[Graham W]

Hi Gregory

Looks like I'm the first to congratulate you on an amazing looking instrument. I like the original rosette and the graceful shaping at the end of the fingerboard. I'd love to hear it's voice…

Interesting that you french polished. I have FP'd several instruments with satisfactory results, but I find that it's a finish that requires great care and attention - this is not necessarily a bad thing. I'd be interested in knowing more about 'glazing wax'? I've not heard of this before - does it help to protect the delicate FP finish?

Once again, congratulations - a fantastic piece of work!

Graham W

[ozziebluesman]

Hey Gregory,

Thats a fine looking instrument. Love the rosette.

Congratulations!

Alan

[Lillian]

Gregory, its beautiful. I would love to hear a sound clip. I know it may offend traditionalist, but I like it a lot. The rosette and fretboard are nicely done. The only design aspect that I'm not sure of is the heel treatment. It is doesn't have the same soft curves as the rest of the guitar. Its too sharp for me. The other aspect I find upsetting is that its in Denver and not in Seattle so I can check it out in person. But that can be remedied. We've been talking about going to see the kids soon, so....

[Gregory USA]

Graham- Thanks for your comments. I've never done anything but a French Polish on a classical guitar. I think the modern finishes are just too heavy and could dampen tone. Also, French polish is so easily repaired. I've never really thought of it as a delicate finish. I mean, it cannot withstand abuse like a urethane or poly, but when it starts to look a bit dull or worn... I just repolish. Heat and sweat are enemies... I keep my guitars very clean and cool.

In fact, I generally do a fairly heavy french polish at first, sand it back with 600, 800, 1000 grit, and then rub out with "glazing wax". It works great and is an ultra hard wax. It's a wax you'll find at an auto store for finish work. In the USA, we have a product called Meguires Show Car Glaze. Available at Meguires.com?? It has a very fine grit that disloves on itself and leaves a very nice ultra-wet looking sheen. It can easily be removed with turpentine spirits if you dislike, or synthetic steel wool.

Once the french polish is on.. I let it cure for 6 months, and then recoat. The end result will rival the best sprayed finish, if not better. It does take alot of elbow grease. My french polish sessions are generally 8 hours of constant work on sections of the guitar at a time, and then allow 4 or 5 days dry time before moving on to the next section.

Also, if you have not done so, check out the DVD from Robbie Obrien are guitar finishing. His French Polish technique is a modern take on the traditional finish. It's so much better than the old method.

Thanks for the post Graham.

Gregory

[Gregory USA]

Thanks Alan-

The rosette did turn out well on this one. If you look closely, it's not a true bookmatch. It's close, but not perfect. I think the slight variation is what helped to pronounce the tiger effect even more, almost mimicking the back of a tiger.

It was the side wood on this back and side set that caught my eye though! The rosette seemed like the only option, since a "mosaic" or traditional rosette would have looked ordinary, or dull.

There is a trick to doing this rosette.... you have two pivot points and not just one when using the circle cutter. Once you have the rosette cut out, you MUST save the soundhole portion from the rosette wood. Place this circle over the top and mark your exact positions by drilling through the predrilled holes. This will guarantee the fit when you cut it in the spruce top. If you don've have it, you'll be hard pressed to make it work.

Thanks again Alan!

[Gregory USA]

Thanks for the comments. When you come to Denver, stop by the school, I'll bve glad to show you not only my guitar, but the guitars of numerous other builders. It's so worth the visit!

The heelcap was a bit more triangular than I liked. I prefer a bit more of a rounded triangle than a sharp point triangle. Also the heel is more gently curved than the photos show. For some reason it looks block-like... and it is not. It's a sexy heel much like that of a ladies' shoe. I'll see if I can photograph a nicer shot. It's a pretty standard classical heel, perhaps not as much recurve under the heel cap, but it turned out nice and it felt good in my hands.

That profile on the fingerboard... just an embellishment to correct a slight error when the top slid off it's center about 1.5 mm to the treble. A traditional rounded profile to the fretboard would have pronounced the error. We call these mistakes "design features". I did get a full 20 frets. And when I placed the bridge it lined with the fingerboard int he end, and the strings are accurately placed.

The headstock is not the best photo... but in real life... it's quite lovely to look at in person!

If in Denver... happy to show it off!

Gregory

[Paul B]

That's a sweet looking guitar.

After seeing yours, I think the ebony bindings are the way to go with tiger myrtle. Didn't really like the stuff that much before (except as bindings), nice combo.

[Craig]

Congatulations Gregory on completing such a fabulous instrument. I'll bet everyone keeps asking what sort of wood is THAT !

It looks stunning for sure , and a credit to your craftsmanship.


Cheers,

[Hesh1956]

Beautiful guitar Gregory!

This is yet another time when we are hearing that guitars built with Tiger are LOUD! My L-OO is the loudest guitar I own and also built with Tiger.

Superb guitar M8.

[Kim]

Great looking guitar Gregory, she turned out very nice indeed.

Well done, you have every right to be proud.

Cheers

Kim

[Stephen Kinnaird]

Beautiful, Gregory!
That's a lovely set of TTM!

Steve

[snidermike]

Very very nice, Gregory! That is just some beautiful wood. Great choice on bindings too. Hope I get to hear it!

[Gregory USA]

Steve, Paul B, Craig, Hesh, Kim & Mikey so fabulous Mike-

Gentlemen thank you for such praise on this one. I am very pleased with the overall appearance, the sound is quite lovely and LOUD, and this Tas Tiger Myrtle works/sands/finishes beautifully.

I have some new ideas brewing in my head for my next set (sister boards from the same flitch).

Ebony was an obvious binding choice to me. I also contemplated purple-heart. The contrast of the deep purple binding and orange back and sides would be very dramatic. orange and purple are complimentary colors on the color wheel. I wanted something a bit more understated, hence the ebony. Over time purple heart would turn a cranberry/pomegranate color and it would be quite stunning.

I also think flamed mahogany would have been a less dramatic choice and quite nice, but the black ebony just seemed to frame the great figure in this set.

Thanks for the comments! I think I have fallen utterly in love with woods from your part of the world!

Gregory

[Dave Anderson]

Great Job Gregory !! Beautiful wood and I really like your headstock.
Congratulations!

[WaddyT]

Wow, Gregory, that's another beautiful guitar. Great craftsmanship.

[Gregory USA]

Dave- Thanks for your complimentary post. The headstock was alot of fun to design, and execute. The overall profile is based (visually and not by measurements) on Fleta's design. The arrangement of the bookmatch grain is interesting, and it is not a true bookmatch. I think this gave it something extra. notice how the dark tiger figure runs in the opposite direction/diagonal of the rosette. I thought this arrangement looked better than them all runnign in the same direction. It makes the eye bounce between the two areas and run up and down the length of the fingerboard. Well, I think so.

The square ramped slots are base on my friend and teacher's (Robbie O'Brien's) method of ramping slots. www.obrienguitars.com Executing these ramps is one of my favorite parts of the construction and it leave alot of room for interpretation.

Again, many thanks Dave.

Gregory

[Gregory USA]

Waddy! Thanks for the complimentary post. I really appreciate you taking the time to do it!

Better, I really enjoyed reviewing YOUR album of your first classical build! WOW. I personally do not use the Solea method of construction, I use a French mold (external side mold) when I build, so I was quite intrigued to see your guitar come together. Thank you for opening my eyes to something old but quite new to me! I'll probably stick to the French mold, it's what I know best, and I am certainly a creature of habit!

With much appreciation,

Gregory