Photos of the guitar above. A bit dark....my film noir phase of guitar photography...
The neck has a maple fillet and the back also, the binding is rosewood and there's no side purfling. I wanted the line of the neck through back to be the visual element most featured. The wider neck make 7's look like they are wearing fat jeans, so I made it more svelte by showing off the center. It worked. The headstock veneer is Zebrawood, Schertler individual tuners.
After this one I was asked to build a few 7's for flamenco guitarists, I have some samples and pictures on a hard dive I can't access at the moment, but I'll transfer those in the future.
I had a discussion with one of my instrument making teachers when I built this 2011, he builds lutes and has mastered for like
therobos and arch lutes. We had a talk about top thickness and necks...structure. His conclusion was that making seven strings with thinner tops and less brace structure for a flamenco guitar was not a problem, to a point. I considered that structural point very carefully. Happy to report I'm still in contact with the players who commissioned flamenco models and everything is fine.
Adding to that, I spent time with some of the Brazilian made Choro guitars that I was being asked to emulate, or make my version of. I came to my own conclusion that there was a tendency to overbuild them- not sure if ti was because I was seeing more commercial factory made guitars rater than handmade, but they all seemed a bit "thuddy" to me. The Choro players told me that is a thing in the sound of the music and has to do with the traditional practice of sometimes using a cello string to get the lower notes of the bass side. I looked at a few guitars set up with cello C strings for the seventh bass. It's an interesting sound, but not for me to make. My idea at the beginning was to make Choro guitars more thin and sensitive like a flamenco guitar.
Since then I've used a a Daniel Friederich derived brace pattern, a very traditional Hauser type bracing, Torres basically, and now I want to return to working on that all wood lattice as in the guitar Jason is playing.
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Patience at the bending iron pays in rounded dividends!