I have been making guitars and other stringed instruments professionally for over twenty years. I have had the pleasure of working with many wonderful musicians; Julian Bream, Pat O'Brien, Leif Christensen and his wife Maria Kammerling, James Kline, Jacob Lindburg, Nigel North, David Starobin, Sting, David Tanenbaum, Scott Tennant and John Williams, to name just a few of my clients whom you will have heard of. Such collaborations produce a fascinating exchange of ideas, which informs all the work I produce.

During the years 1980-83, I studied at the London College of Furniture. My teacher was the wonderful Herbert Schwarz. I sometimes find myself tapping out a tune on a fret as I knock it home, the same tune that Herbert played as he first showed me how to fret. He told me that tapping this tune was a very important part of the process! His humour, along with his warm, caring, practical approach was all part of Herberts teaching style. The fact that many of the finest makers and repairers working around the world today have been taught by him, or inspired by his and his students work, shows the extent of his influence. I believe he stands at the centre of the modern British guitar making scene, which would not be so vibrant today without his unique input, though he was too modest to say such a thing. I had additional tutoring from Tony Smith, and on historical guitars, from Stephen Barber, whose fine work with Sandi Harris can be seen at lutesandguitars.co.uk.

In 1983 I set up my own workshop in Nottingham specializing in 19th century guitars, the only maker specializing in this field at that time. I have worked with many leading guitarists who perform 19th century music. I write, lecture, as well as consult for other makers interested in this period. I have researched, and continue to research and document many instruments from around the world. I have worked on many collections: Edinburgh University, the V&A in London, the Paris Conservatoire and the Metropolitan Museum in New York. In 1991 I was given a grant by the British Council to study guitars in Russia. I spent many fascinating weeks in Moscow and St Petersburg studying collections and talking to makers there at a time when Russia, or the USSR, was not easily accessible to the rest of the world.

I returned to modern guitar making in 92 with my own concert guitars and started developing my A Series Guitar with David Starobin. I have been working with Julian Bream on Hauser guitars since 95. I have also been working closely with John Williams developing systems for amplifying nylon string guitars. Most of my work schedule is now taken up with making my A Series guitars; with occasional special commissions (guitars made to customer specifications), or work on historical guitars. In 2002 I became Southwell Guitars Ltd. It doesnt hurt, and I dont feel any different (apart from a slight twinge in my left leg).

A good stock of top quality timber is vital to any guitar maker. Here at Southwell Guitars I have from starting my career back in 1983 always been careful to build up a fine supply of timber. I have an excellent stock of European spruce, which was substantially added to a few years ago when Julian Bream gave me some 200 fantastic soundboards he had bought in the 1970s with the help of David Rubio, he had been keeping them in his garage all this time. So I now have a superb stock of mainly German spruce all of which is at least 20 years old. In addition to this I have a large selection of Brazilian and Indian rosewood, mahogany, maple, ebony and some native fruit woods and other exotic species. I use traditional hide glues on all my guitars, for the sound quality it produces, for its proven longevity and for its practical properties in aiding repair work if ever needed. My choice of varnish is an amber oil varnish that I make myself to an old recipe, which is a smelly and potentially explosive operation! It has a superb warm luster and excellent sound and wear qualities. I also make my own French polish which I sometimes use.

Guitars by Hermann Hauser I (1882-1952) are highly sought after and prized today by many players and collectors. I have examined many of his instruments and have made copies of this wonderful example of his work from 1940 with the kind permission of Rose Augustine and with the help and guidance of Julian Bream. The guitar has a spruce front, Indian rosewood back, sides and bridge, a mahogany neck, ebony fingerboard and hand made rosette and purflings. It has a 65cm string length. I have worked closely with Julian Bream on this Hauser design since 1995, experimenting and refining certain aspects. We have been particularly interested in the tuning of the front, back and body chamber; examining their relationship to each other and how that affects the tonal quality of the finished guitar. This has enabled me to successfully produce a sound reminscent of the original Hauser guitar.

The distinctive Southwell A Series guitar brings classical or nylon string guitar design into the 21st century in a unique way. Unlike the vast majority of guitars, which are based on the Spanish method, the A Series is inspired by the Viennese style. The A stands for adjustable as this guitar features an adjustable neck system based on the invention of Stauffer and refined by myself for this guitar. It offers many advantages for the player; the string height or action can be adjusted in seconds if need be. Also, you dont have to spend time and money having your saddle piece altered! Finally, an arm rest has been added. As standard, the guitar has a spruce front with back and sides of Indian rosewood and a 20 fret range with a 64.5 cm string length. The neck is figured maple, v-jointed to a stylish ebony head. It has tuning machines specially designed and made for this guitar by David Rodgers. Attention to detail goes right through to the individual hand-made rosette and purfling decoration, all of which reflect and enhance the character of this instrument.

The A Series guitar now features a cutaway. This was originally designed at the request of David Starobin, who wanted the guitars higher positions to be more accessible due to the demands many composers were making. The challenge was to produce a guitar with improved playability, without compromising the sound quality in any way, and which looked new and stylish. The result was a guitar that sounded better, was very comfortable to play and, I think, the appearance can speak for itself. David was so impressed with the guitar, he now says he wont play anything else! Many other discerning guitarists are now discovering the pleasures of playing this new version of my A Series guitar. The most recent great artist to start playing my A Series Guitar is Paul Simon, I can't wait to hear his next album now!

As in the past, the reason to change design is mostly to do with the music and players of the time. Today, that means music that demands a greater use of the guitars range, strong dynamics, extended techniques, and complex harmonic structures. This means that the guitar has to be able to be pushed further in terms of power, balance and flexibility, all of which is possible with the A Series. The adjustable neck system is based on a tension screw and a pivot mechanism. The neck is most easily adjusted by turning the tension screw. If further adjustment is required, the pins on which the neck pivots can also be adjusted to fine tune the tuning compensation of the guitar. You dont have to spend time and money having your saddle piece altered! Another advantage of this neck system is that the front is free from contact with the fingerboard, giving the top a greater vibrating area. Also, due to the raised height of the fingerboard, playing up in the higher positions above the 12th fret is much easier.

The internal construction is influenced by other makers who have worked in the Viennese style, such as Stauffer, Scherzer and Hauser. A carbon fibre sub-frame supports all the stress exerted on the top when using a floating adjustable neck. Relieving this stress allows the soundboard to vibrate freely, improving the efficiency response and sound quality of the instrument. As you can see, I use a curved strutting pattern. This allows me to have the struts running just where I want them. A bent or curved bar has more strength than a straight one, so using this method of bent bars allows me greater control over the tension and strength to weight ratio.The arm rest is another new detail on this guitar. No matter how you sit with a guitar you will, to some extent, be in contact with the soundboard where your arm touches the edge. This has a damping effect on a part of the soundboard that is particularly delicate and crucial to the sound of the instrument. The arm rest not only eliminates that damping effect, it also makes the players arm more comfortable and relaxed.

SELECTED DISCOGRAPHY

Modern Guitars

Tom Kerstens: Standing Wave BGS110   
(Southwell A Series guitar)

Geoffrey Morris: In Flagranti ABC Classics 465 701-2    
(Southwell A Serie Cutaway guitar)

Geoffrey Morris (with ETCETERA): Brian Ferneyhough: Solo
Works KTC1206
(Southwell A Series Guitar)

David Starobin: Quest Bridge BCD 9069    
(Southwell A Series guitar)

David Starobin: Newdance Bridge BCD 9084     
(Southwell A Series guitar)

David Starobin: Poul Ruders: Concerti Bridge BCD 9122    
(Southwell A Series Cutaway guitar)

The Danish Guitar Duo: The Danish Guitar Duo Point PCD 5107
Southwell Concert guitar)

The Danish Guitar Duo: Night Birds Point PCD 5120    
(Southwell Concert guitar)

Maria Kammerling: Maderna, Halffler, Borup-Jørgensen Paula PCD 60    
(10-string guitar)

James Kline: Music of the Lost Cathedral Chamber CHCD 107    
(11-string arch guitar)

Per Dybro Sørensen: Jolivet/Davies Paula PCD 63    
(Southwell Concert guitar)

Ten Strings Duo: XX Century Works Chamber CHCD 203
(Southwell Concert guitar)

Historical Guitars

Leif Christiansen & Maria Kammerling: Virtusoso Overtures Paula PACD 54    
(Terz guitar)

Holger Marschall: Benediction
Art Music LC 5607    
(Hauser style)

David Starobin: The Great Regondi, volumes 1 & 2
Bridge BCDs 9039 and 9055
(Stauffer)