Thanks kcodxf!

Buzz Wilson Buzz, thanks so much for the kind words! Was it in Jim Rubin's old shop?

Michael Thames Hi Michael, I honestly cannot remember the owner's name. This was several years ago (2005 time frame) and the shop was on Cerrillos. I remember having a conversation with him about his going to music school with Roland Dyens, but I don't remember his name being Jim Rubin. Unfortunately the shop closed.

Buzz Wilson Also, thank you for the information on lattice bracing. I remember that you experimented with that at one time and for a while it was "flavor of the month" for classical guitars. I did enjoy the Jim Redgate that I was able to play but there was definitely something missing. I was thinking at the time that it may have been the room but perhaps not.

Buzz Wilson Oh yea, Mike Dezzavelle !

Yes.

Tornavoz

I have made a number of latticed braced guitars some with CF but mostly wood lattice. I think lattice bracing tends to involve the entire top in tone production, and also tends to be a bit midrange, and bass sided. I've never heard brilliant clear trebles in lattice guitars, they also tend to sound a bit nasal. Fan braced guitars allow the treble and bass to work more independently. I prefer the DT sound over the Smallman type lattice design, in fact I really have a strong aversion to Smallman design guitars, no matter how loud they are. What concerns me about double tops is how well they stand up over time, by that I mean how they break in and sound good over the years. We all know how well spruce and cedar break in and tend to sound better and better, I'm not convinced the same is true for DT guitars. That said, I have made some and right now I'm making a new design DT featuring a balsa wood core. I like this more than the Nomex because it seems to have better structural integrity. I've heard from many players that their Nomex DT guitars sounded good at first, then the sound got worse and dead notes began to appear here and there. There is also the problem of them sounding somewhat artificial

Doug, thanks for the suggestion I'll look into that.

Thanks John, my son made two guitars, but he doesn't like being isolated in a shop all day....... I'll let you know.

Traditional hide glue is used for most Luther

The second piece is Fandanguillo by Joaquin Turina

Hi Mrfujimata2, no I did that to have access to the inside of the guitar if I ever need to, because it has a tornavoz thus preventing access through the sound hole. I only do this for Tornavoz guitars and only if someone wants it.

Understood. Thank you for responding. I so enjoy watching a master craftsman at work. Cheers.

Hi Michael it's the Turina Fandango played by Michael Chapdelaine from the CD the "DBX Reels" www.michaelchapdelaine.com/order.html

Thanks, you can get the tool at Luthiers Mercantile.

thank you. do you ship to entire world ?

Yes!

Thank you so much !

Hi Adrian, I was 15 years old.

Yup

+LuckyLicks If you wouldn't mind answering, what is meant by a guitar being responsive?

www.reynoldsguitars.com/blog.shtml It's a difficult thing to achieve, because more volume is lost the thinner the top is made. Woods, first of all, have to be outstanding to make the sound harmonically balanced. Classical guitars should be responsive, but not in the same percussive way as flamenco guitars are designed.

+Andre Legg Yes!

its a song by julian bream called aria convarizione detta la frescobaeda lol bit of a mouthfull but there you have it

Thank you very much!

Jonathan White thats ok no probs glad i could help!!

The neck in the classical guitar is thicker and the strings are made out of nylon, on the acoustic they are steel :).

Says in the beginning of the video.

E James It is "Aria Con Varazioni by Frescobaldi.

Michael Thames Thank you, very much! Love this tune

Baroni Lab belo trabalho colega!

Take a look at my website on my KZfaq channel and email me.