English Guitars

English Guitars

English guitar luthiers have been renowned the World over for as long as I can remember and have built reputations for performance, musicality, playability and a constant drive to deliver the best in our instrument.

Currently in England there are many people building guitars and amongst this number you will find names such as Aram, Barton, Dean, Gee, these Luthiers have built World wide reputations and have helped to develop the guitar as we know it.

Amongst younger makers there is a lot of good work being carried out and to represent all would be impossible therefore Stafford Guitar has selected just a few who we feel you will enjoy; Ainsworth, Christie, Hall, Williams are makers whose love for the instrument shines through their work.

The magic of the classical guitar is more than just a beautifully designed piece of artwork it is an instrument capable of communicating all the emotion and expression written into the music by the composer.

Makers

Latest Models

English Guitars

hall-2016-guitar-rosette

Hall Spruce Guitar

John Hall

Base price for variant: £1,650.00
Sales price: £1,650.00
Price:£1,650.00
Discount:
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Out of stock

Below is the review of our last John Hall guitar, Selina's review of our latest 2018 guitar will follow.

 

The finish on this guitar is beautiful, notably a silky smooth neck perfect for thumb movement and relaxation.

I noted straight away the openness of the sound allowing easy projection and volume, a step up from John’s previous guitars. The trebles have a lovely clarity of tone and are very responsive, strong and warm in character with an underlying sweetness for your softer musical side!

The strings do have quite a tight feeling under the right hand fingers at the moment, indicating that she can be played strongly and that there is good potential for much development in her voice.

She does of course need playing in, and as I played I could feel and hear her voice growing in depth and breadth (a real highlight of my job!).

In 'Reflections' and 'By Candlelight' by Andrew York I found a glowing resonance with good dynamic control combined with inner detail and an overall smooth tone.

The treble E is developing a singing and polished tone bringing excellent preciseness to the articulation and rhythmic drive in Canarios by Sanz.

In the gorgeous El Noi de la Mare I could really sink into the bass voice, very strong in support of the soaring melody and growing in sonority as the guitar is put to work. After hearing this I went on to play Prelude no.1 by Villa Lobos and found a firm and lively bass voice, one that could shape this great bass melody and help to give it character.

In Rosita by Tarrega the separation of the voices was evident with the lively and radiant treble lines being supported and enhanced by full bodied harmony and depth in the bass, clarity and balance across the whole and plenty of detail.

This guitar has a journey ahead that is unknown but full of potential for a player who wants more detail, clarity and strength but has not got a lot of money to spend. She is certainly excellent value and in my opinion plays above her price tag.

Selina.

 


Table.

Alpine Spruce

Rosette.

Classic dark diamond pattern.

Back & Sides.

Selected Indian rosewood skillfully crafted into a two piece back.

Neck & Head

Honduras Mahogany

Machine Heads.

Rubner.

Finish.

Hand applied oil

Images

Last guitar in stock


Scale Length

650mm

F/board Width

52mm

Upper Bout

282mm

Lower Bout

364mm

Body Depth

100mm

Out Of Stock Enquire
christie-guitar-rosette

Christie Concert Model

Stuart Christie

Base price for variant: £2,625.00
Sales price: £2,625.00
Price:£2,625.00
Discount:
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IN STOCK

It is always exciting reviewing a new guitar, especially when the guitar is from a maker new to us at Stafford Guitar as there are no pre conceptions or expectations from previous instruments. In many ways this means no pressure!

With this guitar I found a bright and lively character with plenty of tonal colour and the beginning of a clear and, importantly, individual voice. By this I mean that there is very good development potential here as her sound fills in depth and resonance through playing (as with all spruce guitars). In fact as I played for this review I could feel the balance and ‘evenness’ growing and developing across the strings and range of pitch.

The treble voice is clear and easy with a fresh and gleaming character that brings excitement and zest to the upper voices with room for growth and deepening as the guitar starts to bed in.

The bass already gives a great body of sound with well-focussed and supported notes that create impact and breadth. She has a good playing action with easy tone and clarity of voicing giving the player lots of musical detail, sonority in the bass and overall colourful and vivid tone.

In Abenlied by Mertz the excitement within this guitar gave me plenty to explore in the 3 voices particularly in the main section of the piece with the sextuplet semi quaver accompaniment, plus good balance between upper melody and bass helping to drive the music.

I received a lovely full response as I went on to play Villa Lobos especially the bass melody in Prelude 4 highlighting the richness and depth in her bass voice with broad and ‘deep’ notes giving great sustain, clarity and long phrases.

In Prelude 3 I could really feel the trebles growing and developing as the music uses the complete range of the guitar. There are some particular notes that ‘stand out’ at the moment but I can already hear this changing and gaining ‘balance’.

The potential for growth and change is one of the most exciting things here, the knowledge that your playing is helping to mould and mature a voice, bringing out true potential and developing your sound at the same time.

This was especially obvious to me in Bach’s Prelude BWV999 where the constantly flowing notes and internal interweaving lines were clear and defined while all the time I could hear tangible growth in support and evenness overall.

In my opinion this guitar is a guitar with very good future prospects.

Maybe a journey into the unknown but those are the most interesting and exciting!  

Selina

 


Table

Fine grained European Spruce.

Rosette

Dyed maple, holly.

Back and Sides.

Indian Rosewood.

Head Stock.

American Black Walnut.

Machine Heads.

Irving Sloane

Finish

French Polish.

Case

Hiscox Pro II

Images

Guitar in stock


Scale Length

640mm

F/board Width

51.5mm

Upper Bout

267mm

Lower Bout

352mm

Body Depth

94mm

williams-spruce-guitar-rosette

Williams Spruce Guitar

Roger Williams

Base price for variant: £2,850.00
Sales price: £2,850.00
Price:£2,850.00
Discount:
Tax amount:
Price / kg:
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IN STOCK

It has been very interesting reviewing a guitar that is new despite being built 4 years ago and after playing I sensed a maturing (of what I am unsure!) that enabled me to do more with the sound, and hear more from the outset.

This guitar has a bright and vibrant character with clear, easy projection and great playability. It is lovely to be able to hear the personality of a guitar as you start to play, not only giving you a sense of how she will develop but also encouraging you to explore and push the instrument and your ability! Here I found a guitar that is not shy or reserved but one that is outgoing and lively.

She has excellent clarity across the strings and lovely sparkle in the upper register with a supporting warm resonance that allows ‘edgy’ and attacking qualities while retaining fuller richer tone when asked for. The trebles are very clear and focussed giving me fluid and quick articulation and highlighting rhythmic playing and changing textures in the music. The basses are sonorous and ‘fruity’, meaning plenty of body and depth combined with impact and ‘punch’. All in all a lively and ‘forward’ personality!

As I start to do a review I enjoy listening to the characteristics of the sound and then look forward to hearing how this translates into the music. I started with Polacca by Mertz and loved the texture created by clear articulation giving me lots of detail in the quick scale and arpeggio passages and highlighting the rhythmic character of the music. Likewise in study no.13, op.60 by Coste the guitar responded beautifully to the difficult technical demands with direct and quick sound production. The important bass line, which includes as many rests as notes, was strong and firm and I could easily separate this from the upper accompaniment of ‘bubbling’ semiquavers.

I am relearning Regondi study no.8 at the moment. This is a beautiful piece that consists mostly of a single flowing line of semiquavers containing the melody and accompaniment so a lot of interpretation and control needed. The Williams has a very even and open tone across the strings allowing me to control the musical lines and phrases as I wished and I found that I could achieve a wide variety of tone and colour, particularly enjoying fuller and richer notes with deeper strokes and engaging, ‘dolce’ tone. Also very notable was the quality and definition of sound from the lowest to the highest notes with smooth and fluid transition through the registers.

In the Passacaglia by Weiss I enjoyed a rich and full-bodied bass D resonance and an overall invigorating sound palette within which the clarity of individual notes and phrases was never lost. I finished with a new piece, Andante Largo by Sor, to demonstrate the sweeter and fuller tone available, with great sustain and a developing warmth in support of her voice that gives the player more choices at the slower and more gentle tempos.

I really enjoyed playing this guitar.

She is easy to play with charcteristics that easily highlight vivacious, lively and exciting pieces, a clarity of tone that brings out phrasing and textures in your music, excellent projection and warmth and depth in support of the sound giving you great variety, freedom and overall control.

Do not be put off by the date!! There is loads of potential to unlock here.
Selina.

 


Table.

Spruce.

Rosette.

Hand inlaid "Bard of Gold".

Back & Sides.

East Indian Rosewood with centre insert of Quarter Sawn English Lacewood.

Neck & Head

South American Cedar.

Fingerboard.

Ebony.

Machine Heads.

Gotoh

Finish.

Shellac French Polish.

Case

Hiscox-Pro-II.

Images

Guitar Currently in Stock


Scale Length

650mm

F/board Width

52mm

Upper Bout

280mm

Lower Bout

372mm

Body Depth

95mm

Webp.net-resizeimage-9

Toon Concert Model

Steve Toon

Base price for variant: £2,850.00
Sales price: £2,850.00
Price:£2,850.00
Discount:
Tax amount:
Price / kg:

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IN STOCK

It is always exciting when I get to play a guitar that is completely new to me as there are no pre conceptions or expectations, in other words a completely blank page! This guitar ‘spoke’ to me immediately with a beautiful clear tone, well rounded and balanced trebles, strong focussed bass notes and excellent clarity and sustain across the strings and fingerboard.

She also has a great ‘lift’ to her voice and excellent control, which gave me loads of detail, fluidity and musical direction in Prelude BWV 999 by Bach, so important in this style of music.

The control of sound is a key feature with this guitar. I found that I was able to achieve the detail that I wanted, for example small changes in tone and colour to help to shape and develop the music.

She is a very responsive guitar and already has an open voice with a wide range of colour and dynamic.

The great thing is that she does not lose definition or clarity – it is always there in support of the player leading to clear, quick (off the string) and easy articulation and as a result speed, slurs and ornaments with little effort required.

This was all very apparent as I played Sonata by Albeniz (the Baroque one) highlighting the lift that I mentioned earlier and the vitality in her character. In Ciacona by Weiss I loved the clarity and warmth within the chords that she gave me, with long phrases and singing lines ‘talking’ together, especially the repeating bass feature which controlled and shaped the piece with ease.

I have just noticed that easy seems to be quite a key word for this review. I really got the feeling that anything was possible, that I could happily enjoy the sound as it is now but also could keep exploring and find so much more.

My clear highlight of the review was By Candlelight by Andrew York. This is a very haunting piece in a tricky tonality for the guitar – G# - and the result here was simply beautiful. Delicate and seamless sound, smooth tone and control in the separation of the melody and accompaniment which move very close together, and an emotional and evocative response. The notes are distinct and yet shapely giving a great concentration of sound and clarity with depth that gives support, understated projection and ‘presence’. The constant ebb and flow within this piece felt easy to achieve pulling me into the music and encouraging musicianship.

Yes, a quality guitar really does push you to greater heights and facilitate progress on musical and technical levels. I also loved the way that I could move between different sounds, dolce tone to forceful tone, soft and gentle to full bodied and vivid.

Other pieces played included Tarrega Preludes where the guitar thrived in the fantastic musicality and emotion of these miniature pieces and my Coste study of the moment where I had great fun with stopping the bass notes – intense and sonorous, controlled sound. I felt that I had to close with Lough Caragh by Gary Ryan. The sound was truly beautiful, the only way to describe it really, with crystal clear singing lines in the upper register, depth and body to every note whatever the volume and overall substance.

This is a lovely instrument and maybe the best thing about her is the price!

She really does punch above her weight and offers a wonderful opportunity to a player/ student/ enthusiast on a budget.

Loads of potential and a very exciting prospect.
Selina.

 


Table

Italian Spruce.

Rosette

Australian Red Mallee Burr and other coloured wood.

Back and Sides.

Wenge with Cypress lining.

Head Stock.

Wenge.

Machine Heads.

Rubner with bearing and ebony buttons

Finish

Oil Varnish.

Case

Hiscox Pro II

Images

Last guitar sold


Scale Length

650mm

F/board Width

53mm

Upper Bout

281mm

Lower Bout

365mm

Body Depth

100mm

Out Of Stock Enquire
Ainsworth-spruce-guitar-rosette

Ainsworth Spruce Guitar

John Ainsworth

Base price for variant: £3,300.00
Sales price: £3,300.00
Price:£3,300.00
Discount:
Tax amount:
Price / kg:

{lightgallery type=local path=images/gallery/john-ainsworth}{/lightgallery} Out of stock

 

This guitar has an immediately open and vibrant voice with strong and supported tone and an obviously colourful character. Projection and tone quality are great giving me a sense of strength and security from the start. Individual notes are firm and full with excellent definition and clarity across the strings.

As I played Prelude 999 by Bach this gave me loads of detail within the harmony helping to give the music shape and direction. The firmness and definition of sound also leads to plenty of contrast available lovely immediate response.

In Malvina by Mertz I could easily achieve a strong and vibrant tone to give me drama in the full chords in the introduction, clear and detailed texture for the arpeggio accompaniment and lovely fat and ‘dolce’ melody notes and basses when required. The fullness and breadth in the ‘body’ of sound are very important with this guitar. There is a definite richness filling out her voice that does not take over but gives great support and depth to the overall sound.

She has a wide variety of tone ‘colours’ already and great potential for contrasting dynamics encouraging musicality and experimentation – pushing the boundaries! Ciacona by Weiss needs this combination of full tone and clarity and I really enjoyed the majestic and rich character that I could get here, with clearly defined semiquaver passages and a focussed and distinct bass line, vital for the style of music. In fact the ‘switching between big, compelling sound and simple, effortless tone is easy on this guitar which is very exciting as you are playing!

She is a very responsive and direct guitar with quite a bright and vivacious personality. I quickly discovered a wonderful sonorous bass D tuning in some little Preludes by Tarrega that I am re-learning. These fantastic miniatures really highlight her richness and depth of character with clarity and brightness singing clearly above. The music is very exposed with relatively simple and slow melody and harmony that has to connect over long phrases.

This guitar supports the player beautifully with ample, rounded melodies and clear detailed harmonies. She gives delicacy and impact, drama and emotion, reliability and excitement.

She is, to sum up, great fun to play with plenty of variety, responsiveness and exuberance to keep you interested and looking for more. Basically a rich and full body of sound with firm and fruity basses supporting clear and rounded trebles and a vibrant side that gives brightness and colour and excitement.

Selina.

 


Design

Fan Strut.

Table.

Alpine Spruce.

Back and Sides.

2 piece back constructed from the finest Indian rosewood beautifully bookmatched as can be seen in the photographs.

Rosette.

Individually designed rosette.

Neck.

Mahogany

Machine Heads.

Schaller.

Finish.

Danish Oil front with French polish back and sides.

Case

Hiscox-Pro-II

Images

Guitar Currently in Stock


Scale Length

650mm

F/board Width

53mm

Upper Bout

280mm

Lower Bout

370mm

Body Depth

100mm

Out Of Stock Enquire
aram-torres-spruce-guitar-rosette

Aram Torres Guitar

Kevin Aram

Base price for variant: £5,500.00
Sales price: £5,500.00
Price:£5,500.00
Discount:
Tax amount:
Price / kg:
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IN STOCK - Free International Shipping

This guitar has a wonderfully ‘simple’, focussed and direct tone quality that has a great impact on the player and listener.

I use the word simple in a positive sense, meaning uncomplicated by surrounding resonance and a striving for volume and power. She has a pure and honest sound that is all about the natural beauty of the voice of a Classical guitar and the music it can create. In some ways she gives you the best quality ‘blank’ page; distinct, traditional and concentrated tone through which you can freely express your music and develop your sound, musical ideas and technique.

The balance across the range of her voice is fantastic with unrivalled evenness through the bass and treble voices leading to smooth and fluent notes and a great sense of control for the player.

In Belle by Ferrer I was able to convey the character of the piece easily, with clarity and precision helping to highlight the rhythm and bring out the playfulness in the music. Playing this piece helped me to recognise the intensity within each note and direct response to touch that give a great combination of rounded notes, depth of sound and full support making this guitar so strong in an understated and ‘gentle’ way!

I played Prelude no.3 by Villa Lobos next which was a real eye opener! The guitar responded beautifully to the full and rich chords with deep and sonorous resonance unveiling a substantial voice and so much potential. In the second half I enjoyed long and legato melodic phrases, again supported by the excellent balance across the strings. There is so much detail here matched with great control and blending within the harmonies. Listening, you are aware of the concentration of sound that gives such a great overall impact and wonderfully smooth, velvet tone.

Following this I had a lot of fun with my favourite Coste study. This piece can be quite hard work if you want to get the full effect of the stopping bass technique. With this guitar I found that I could keep the technique light while still achieving all the articulation, projection and musical shaping that I wanted helping me to really enjoy the overall effect (for a change!) – lovely sparkly treble harmony and a beautifully separated and rhythmical bass line.

In Endecha and Oremas by Tarrega I found beautiful sweetness in her voice bringing out the warmth and emotion in the music and holding the long slow phrases together, and in Passacaglia by Weiss the presence, quailty and authority of her voice came to the fore.

The musical detail available is fantastic, such fun to explore and to hear the guitar blossoming with every new piece and request.

I finished with By Candlelight by Andrew York, an evocative piece of music requiring a high level of control and understanding. This is a guitar that helps the player to achieve the qualities necessary. Even at the quietist of dynamics and across the longest sustained notes she brings the music to life, drawing in the listener and player to the real essence of the sound and of the music.

She is a beautiful instrument, a strong traditional voice, not flamboyant or obviously excitable but with strength in depth, control and substance that bring the emotion and the ‘music’ to your pieces, the sort of voice that originally made me fall in love with the classical guitar and its repertoire.
Selina.

 


Table

European Spruce

Rosette

Finely crafted - Walnut, Mahogany and Maple.

Back and Sides.

New Guinea Ebony - No Cites Required.

Head facing.

New Guinea Ebony - No Cites Required.

Bridge.

New Guinea Ebony - No Cites Required.

Body bindings.

Koa.

Machine Heads.

Rodgers

Finish.

Hand applied oil delivering visual depth to the wood.

Case

Hiscox Pro II

Images

Guitar currently in stock


Scale Length

650mm

F/board Width

52mm

Upper Bout

270mm

Lower Bout

354mm

Body Depth

90mm

dean-guitar-cedar-rosette

Dean Cedar Guitar

Christopher Dean

Base price for variant: £5,500.00
Sales price: £5,500.00
Price:£5,500.00
Discount:
Tax amount:
Price / kg:
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IN STOCK - Free International Shipping

This is my first experience of a cedar guitar by Christopher Dean and I was immediately attracted by her big, open voice with intense and distinct individual notes supported by full bodied and rich resonance.

As a player you get a feeling of strength from this combination, a vibrant and ‘rousing’ sound palette where quality and evenness is present across the range of the fingerboard and where the surround sound gives you confidence without ever becoming too rich or swallowing notes and voices.

The ‘playing touch’/ (right hand response) is firm giving you excellent feed back and the knowledge that you can achieve great variety in colour and dynamics with plenty more to come as she plays in.

The immediate intense and colourful character of this guitar encouraged me to start my review with Eterna Saudade by Dilermando Reis, a very emotional piece full of character and requiring musical freedom. This was a good choice as it introduced me to the fantastic sonorous and fruity bass voice with a magnificent depth that supports, enhances and drives the music.

Thinking of resonance I went on to By Candlelight by Andrew York. This piece moves around a G# minor chord, which is a difficult harmony on the guitar and the overall effect on was stunning. The clear separated notes resonate and ‘clash’ together beautifully (G#, A#, B and F#) with long sustain and without cancelling each other out capturing the evocative and haunting character of the piece perfectly. The treble gives smooth and rounded notes with a warm and honeyed colouring that also has obvious substance and plenty of punch.

In Bach’s Prelude BWV999 the clear and precise nature of the treble gave the flowing arpeggios texture and colour highlighting the continuous momentum within the piece, and in Standchen by Mertz and Villa Lobos Prelude no.3 she showed a wonderful ability to ‘float’ the upper melody whether above arpeggio accompaniment or over the sublime falling melodic phrases in the second half of the Villa Lobos. This smooth and fluid quality to the sound is there for the asking, regardless of effort. However the rewards for experimenting and pushing your abilty are well worth it.

Returning to Villa Lobos the bass melody in Prelude 1 was gorgeous, sonorous, intense, legato bass tone with wonderful body and ‘weight’ that gives a truly singing line.

To finish I played Deux Aires Populaires Cubains by Brouwer which seemed to give a perfect summary highlighting the characterful nature of this guitar and the clarity within her resonant voice that leads to great detail and rhythm in the music.

In conclusion she has a magnificent, warm, resonant and colourful voice that also gives definition, clarity and firm attack giving her a powerful and emotional personality. Her new owner will have an exciting journey ahead!
Selina.


Table

Cedar.

Rosette.

Inlay detailed with lighter coloured woods.

Back and Sides.

2 piece back constructed from the finest Indian rosewood beautifully book matched.

Head facing.

Indian Rosewood.

Bridge.

Indian Rosewood.

Machine Heads.

Allessi

Finish.

French Polish.

Case

Hiscox-Pro-II

Images

Guitar Currently in Stock


Scale Length

650mm

F/board Width

51mm

Upper Bout

277mm

Lower Bout

365mm

Body Depth

95mm

barton-spruce-guitar-rosette

Barton Spruce Guitar

Peter Barton

Base price for variant: £6,300.00
Sales price: £6,300.00
Price:£6,300.00
Discount:
Tax amount:
Price / kg:

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Arriving 2019

First of all I have to be a bit ‘girly’ and say how much I love the look of this guitar. She has a wonderful contrast between lovely dark rosewood, not flashy but with deep, subtle markings and a beautiful light spruce top, with the back and sides being echoed in the signature rosette where the darker wood is almost black. Very striking, which is also a good place to start with a description of the sound!

As I started to play I realised that this is a very ‘honest’ guitar with focussed, balanced and even tone across the range, clear and strong projection and a firm feel indicating great potential. This was all immediately evident in the Carcassi studies that I started with, particularly op.60, no.1 which could be described as a ‘scale’ study. There is a constant line of running quavers in scale and arpeggio form and the guitar gave me a beautifully even and seamless melody across the range of the fingerboard allowing clear shaping and phrasing.

I could actually use only one piece to sum up the guitar. When you know a piece inside out and love the music you have a very strong idea of how you want it to sound.

With Standchen by Mertz (my new absolute favourite) this guitar allowed me to shape the music freely with my thoughts easily conveyed through my fingers. Most importantly the control is wonderful, with definition bringing out every small detail and concentrated, full tone highlighting the conversations in the piece between treble and bass, the tricky nature of the treble echoing the bass, easily overcome here.

The word that keeps coming to mind is ‘calm’. This may be a reflection of how I felt in playing. She is a focussed and confident instrument, no ‘unexpected’ sounds and already very responsive with seemingly perfect clarity. I enjoyed experimenting with tone colours in this piece with lovely dolce pp contrasting with sharp and tangy brightness in the treble, and fantastic, fruity bass driving the harmony and then effortless contrast to full, mellow depth when asked for.

In contrast she gave me zest, sparkle and great rhythmical drive in Mertz’s Tarantella. Crystal clear articulation highlighted the texture created by rhythms, with fluid and projected melodies in the inner register projecting smoothly from within octaves and easy left hand action giving me uninhibited slurs, ornaments and glissandi. She is very quick to respond to the right hand, which means that the very fast tempo here does not sound hurried – just exciting!

Musical lines are so enjoyable to play on this instrument. The consistency of response and of tone quality means that you can be confident in your sound, which leads to more relaxed playing and technique as well as being able to hear more and find more in the music.

I have just started to learn Variations sur “Folia de España” et Fugue by Ponce. This is what I call a ‘huge’ piece, not only in its length and complex fingering but in its depth of harmony and expression. It particularly exploits the bass voice of the guitar and the Barton loves this with amazing ‘growl’ and sonority, deep intense and rich bass notes, always defined. She highlighted the wonderful dissonances and dramatic ‘dark’ nature of the harmony creating colours and textures that let the music come to life, as well as bringing out smooth, glowing upper melodies that seamlessly move you from dark to light and warmth.

As you can probably tell, I loved this guitar! Control and consistency of sound is at the root of it, a responsive, confident and focussed voice that encourages shaping of the music, and is already giving an expansive ‘palette’ of tone and colour.

Definitely a guitar through which I can fully express myself.

An exciting journey ahead for guitar and new owner.  

Selina.

 


Table

Alpine Spruce.

Design

Fan Strut based on a Hauser design.

Rosette.

Beautifully designed from ebony, maple, satinwood and mahogany.

Back and Sides.

Finest 30 year old Brazilian Rosewood beautifully book matched Cites included.

Head Facing.

Finest 30 year old Brazilian Rosewood.

Bridge.

Finest 30 year old Brazilian Rosewood with twin hole string tie.

Machine Heads.

Rodgers

Finish.

French Polish.

Case

Hiscox-Pro-II

Images

Last Guitar Sold


Scale Length

650mm

F/board Width

52mm

Upper Bout

278mm

Lower Bout

365mm

Body Depth

95mm

Out Of Stock Enquire
gee-guitar-2017-rosette

Gee Layered Top Guitar

Michael Gee

Base price for variant: £6,300.00
Sales price: £6,300.00
Price:£6,300.00
Discount:
Tax amount:
Price / kg:
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Arriving 2018

After playing this guitar over a few days I will summarize thus – simply put, she has a gorgeous voice!

However for the purpose of the review I will go into more detail!

I found her a joy to play from the first touch, with so much immediate depth and colour and an open and true tone. The breadth of the sound is amazing for a brand new spruce guitar and although she will probably tighten up in the natural course of development, this does speak of wonderful things to come.

The treble is smooth, round and clear, with a truly ‘singing’ voice, a tone that I describe as ‘golden’. This results in great sustain and legato melodies supporting overall phrasing and musical shape. This beautiful tone is also maintained over the range of the fingerboard as I discovered playing the first movement of La Cathedral by Barrios, giving me pure, fluid and crystal clear sound across the treble strings around the 12th fret and creating a magical atmosphere, even at this early stage.

Her bass voice really does have the wow factor combining depth and body of sound with focus and strength, intense and substantial sound supporting the whole voice and creating an impact that demands attention from both player and listener. In fact my best descriptive word for this is ‘passionate’, discovered when playing Villa Lobos preludes numbers 1 and 4 and Standchen by Mertz, achieving in all cases compelling drive, shape and momentum.

The intensity and shape of the individual notes is probably the most striking thing about this guitar. Her voice is so well supported giving flowing continuity to your music and in turn supporting her player, allowing technical and expressive freedom.

In the Sonata by Mateo Albeniz I loved the precise clarity of the sound always maintaining overall radiance with loads of volume and vitality. The consistency of treble tone across a wide range of pitch is very important in this piece and this guitar delivered with ease and vigour!

Returning to Villa Lobos I particularly enjoyed playing Prelude no.3 (quickly becoming one of my favourite pieces by the way) for the expansive, free and open sound and wide range of timbre that I could produce.

Control on this guitar is excellent and she responds to tiny adjustments in technique giving me my voice through my fingers. Highlights include magnificent sonority in the chords in the middle section and beautiful, fluid falling phrases towards the end with plenty of drama and emotion along the way.

In the Ciacona by Weiss the direct intensity of her tone came to the fore with a lovely sense of balance and control over the voicing, really bringing out the beauty of bigger intervals in the melodic line as well as the stability and compelling movement of the repeating base line.

Majesty, power and wonderful dissonance were in abundance in the Ponce Folias variations. This piece really demonstrated the range of this guitar. From big arresting harmonies to delicate weaving lines, exhilarating fast repeated chords to long, slow controlled phrases and delicate harmonics, she has the ability to fully portray and communicate the music.

The Fugue at the end is an immense piece of music, for me taking a guitarist beyond what they normally have to interpret and this guitar handled it beautifully, in particular the last section where two voices rise and rise in counterpoint to well above fret 12 accompanied by an insistent bass pedal creating screaming tension and a massive crescendo. I so much enjoyed playing this, especially the seemingly never ending build up that she gave me and the subsequent contrast to so soft and emotional.

This guitar has it all really – playability, beautifully smooth treble, magnificent full bodied basses and an overall warmth combined with balance and clarity that are so exciting and intriguing for the future - Great fun.

Selina

 


Table

Spruce Layerd Top design.

Rosette

Arrow design with new colouring.

Back and Sides

Finest 40 year old Indian Rosewood.

Head facing

Finest 40 year old Indian Rosewood.

Bridge

Finest 40 year old Indian Rosewood.

Machine Heads

Rodgers - Gee design

Finish

French Polish.

Case

Hiscox-Pro-II.

Images

Last Guitar Sold


Scale Length

650mm

F/board Width

53mm

Upper Bout

284mm

Lower Bout

370mm

Body Depth

100mm

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