Grand Concert (standard)

Although not all are precisely the same, this series of guitars is based on a lattice strutting system.

The sound is full and there is plenty of volume. Despite the development of this type of guitar for power, my focus is on the sound quality and I aim to have a good variety of available nuances. What excites me about these guitars is that they can have so much variety driven by the right hand from a much smaller area of string than is normally seen by a player on a more traditional spruce guitar, i.e.., you can keep your hand in more or less the same place but be able to manipulate the sound by the angle of the finger nail, for example.

My preference is for a guitar that does not peak too early in dynamic response, so I build them to have some resistance to play against, which varies according to the player I make it for. I encourage my players to not hold back with my guitars.

Grand Concert II

This is the same guitar as the standard GC but with an alteration on the treble side of the soundboard. The effect is of a raised fingerboard but this is not visible from the bass side. The player does not notice it and the depth of the guitar is not changed from the standard version. I have detected no obvious difference in sound between the GC and the GCII. They are harder to make though and take longer, hence the difference in price.

Grand Concert III

A smaller version of the Grand Concert. The shape is similar to Torres SE 43 and the rib depth is also less than the GC, at around 89 to 95mm. This is a well proportioned, compact guitar that feels very comfortable. The sound differs from the standard version in that is less full and rich, but more clear and precise. The effect on projection, if anything, is positive.

Now it is possible to get a GCIII with the treble relief of the GCII. This would be priced the same as a GCII.


This is a fan braced guitar, much more traditional is design. The sound is clear and bell-like with a singing treble. The volume is less than the GC guitars and they are less full sounding. However, some of my customers prefer them. Historically, my Series II guitars have been very different from one another because it is a line of development beginning with the Series One. The early ones are extremely bright and the most recent are much freer and more bass rich, whilst retaining a clear treble.


This model name is a reference to my earlier guitars, most of them made up until the late 1990s. This model is still distinct from any of the other models in that it has fan bracing using traditional style braces. I still occasionally make these. The sound is the least loud of all the models but the sound is characterised by a very clear and singing treble.

This is a basic description of the model types. Each guitar will be different though because I like to make it for the end user. There will be a choice of woods, and my advice on which to have will depend on the player and the model.

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