My approach to building guitars
Instruments with soul
In my small workshop in the Franconian Switzerland, I handcraft steel-string guitars. It is my passion to create guitars with individual character from the natural material of wood. Over many years, I have been able to gather valuable experience. Through the intensive study of specialist books and the highly instructive guidance from master guitar builders, I have deepened my knowledge and developed my skills.
A guitar is not just an object to me. A guitar is an instrument with a soul. And each guitar has its own character, which develops and unfolds during its construction and while being played. Its soul inspires the player, and these melodies, in turn, shape the guitar and further develop its sound.
A guitar is not just an object to me. A guitar is an instrument with a soul. And each guitar has its own character, which develops and unfolds during its construction and while being played. Its soul inspires the player, and these melodies, in turn, shape the guitar and further develop its sound.
For the soundbard, I primarily use Alpine spruce, and occasionally Sitka spruce from Alaska. I especially enjoy working with strikingly grained “bearclaw spruce.” Additionally, I also use thermo-treated spruce, which resembles the tonal qualities of aged, well-played spruce tops. For the back and sides, I work with traditional guitar woods like mahogany, maple, or rosewood. I particularly enjoy working with richly grained woods such as ziricote, bubinga, and others.
I craft the neck using traditional Spanish construction. For steel-string guitars, this is rather uncommon, as the Spanish neck-to-body connection is more complex to build compared to modern bolt-on or glued joints. However, it also offers the significant advantage that the neck and heel block are made from a single piece, allowing for uninterrupted sound transfer from the neck to the body of the guitar. From an acoustic standpoint, a Spanish neck is therefore the best choice.
Design and Functionality
A good guitar must sound beautiful, be comfortable to play, maintain tuning stability, and also be aesthetically pleasing. I place great value on simple elegance and a classic appearance that fits perfectly with music styles such as folk, Americana, blues, or country. A timeless look for timeless songs.
In addition, I also make some guitars with more striking design elements, like an asymmetrical headstock that impresses both aesthetically and functionally because it allows for straight string alignment. This enhances tuning stability and optimizes the string’s resonance behavior. At the same time, the asymmetrical design is a real eye-catcher and adds to the distinctiveness of my guitars.
I decorate the headstock with strikingly grained woods. Often, this involves Ziricote from Mexico. However, other woods that match the design and color scheme of the guitar are also used. I ensure a coherent, harmonious, and expressive overall design for the guitar.
Even the bridge features different designs. The bridge reflects the form and style of the headstock, complementing the overall cohesive design of the guitar. I usually craft my bridges from ziricote, rosewood, or ebony, but I also use bubinga, purple heart, or walnut. The saddle is made from bone and is compensated to ensure good intonation.
High-end-Sound
Amplification is a delicate topic when it comes to acoustic guitars. That’s why I install pickups from Carlos Juan, which authentically capture the sound of a handcrafted guitar. Carlos has already equipped the top tier of the acoustic guitar world with his pickups—from Eric Clapton and Mark Knopfler to Pat Metheny. I am very pleased with the great and friendly connection I have with Carlos. His pickups are the icing on the cake for my Maple Leaf guitars.