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PETER OBERG - Classical (Western Red Cedar/Black Cherry)
Hi,
I have commissioned a classical guitar from San Marcos, CA luthier Peter Oberg (http://www.obergguitars.com/). We don't see many classical guitar build threads here, so I thought that I would share this build with the forum. For those of you who don't know of Peter's work, he has been building classical guitars exclusively for >15-years. Before becoming an independent luthier, he was fortunate to have the opportunity to apprentice with two great luthiers: A year with Ervin Somogyi in CA followed by 2-years in WA apprenticing for Robert Ruck. Additionally, Peter also happens to be an accomplished guitarist which brings a player's perspective to each build. Peter's style of build is both traditional in some areas, yet modern in others. Here is a recent profile on Peter in Guitarbench Magazine (Issue 7, 2013): http://www.obergguitars.com/Guitarbe...er%20Oberg.pdf Here are the preliminary guitar specifications: Top: Western Red CedarHere is the top that we chose for the guitar. It is Western Red Cedar (Thuja plicata) that was harvested back in the 1990s. As you can see, it has lots of color variation, silk and is perfectly quartersawn. I suppose some folks wouldn't like the color variation in the top, but I do. For the guitar's back and sides we chose a non-traditional domestic hardwood: Black Cherry (Prunus serotina). This particular set, shows some figure and will of course look much darker and richer with the application of some shellac. Here is the cherry set with a little alcohol applied. You can see that it is beautifully quartered. The sides will likely be laminated with either Port Orford Cedar (Chamaecyparis lawsoniana) or Alaskan Yellow Cedar (Cupressus nootkatensis). I will share more photos as they come.
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A bunch of nice archtops, flattops, a gypsy & nylon strings… Last edited by iim7V7IM7; 10-30-2015 at 12:26 PM. Reason: Tuner decision, Case decision, one neck was enough, binding choice |
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Great choice! Cherry and Cedar are a wonderful combination and I am sure you will love the results!
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Indeed, what Tim said.
And just look at that insane top! Ah, wood envy...the 8th deadly sin. Steve |
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No kidding, that top is incredible.......glad I don't know what do do with the wood, or I'd have to have a stockpile for myself. I have to rely on getting a trip into Tim's wood room once in a while!
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"One small heart, and a great big soul that's driving" |
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Thanks Tim/Steve...
Picking the Black Cherry for the back is a bit of a "leap in faith" in that I have never played one. I am a big believer that influence on sound is made in this descending order: 1) The Luthier 2) The selection of the top wood 3) The selection of the back and sides Most importantly, my luthier sees potential in these two pieces used together. Other than my archtop which is Bigleaf Maple, all of my other guitars have backs and sides made from glassy, dense tropical species, so I am looking forward to the change. It seems that luthiers are the biggest fans of domestic species and clients rarely select them when given the option. Some luthiers seem to like Cherry and others think its dead sounding. I know it to be a medium density, medium-high stiffness wood with moderate damping similar to Bigleaf Maple, Black Walnut or even some Mahoganies. My expectation is that it should have an open quality, with good separation and a rich, projective midrange with balanced trebles and bass. I am hoping the the euphonic sweetness of the Western Red Cedar is a good combo with the Black Cherry. I also think his use of laminate sides (typically a cypress like Port Orford) and large solid poplar linings all influence the contribution of the side wood to boot.
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A bunch of nice archtops, flattops, a gypsy & nylon strings… Last edited by iim7V7IM7; 08-03-2014 at 06:12 AM. |
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Quote:
Fred |
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Thank you Fred...
I have heard nothing but superlatives about Eric's guitars (I think he has a 9-10 year wait list). You said "owned" so I assume that you sold it. I am obviously curious as to why? PM if you are more comfortable discussing it privately.
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
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Quote:
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Interesting...thanks for sharing.
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
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Great to have a classical build thread, and that cedar is simply magnificent. It just glows! Thanks for sharing, and looking forward to further posts
Col |
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Quote:
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
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Update No. 1a
Resawn ebony for rosette blanks
Gaboon Ebony being edge glued (interesting use of wedges for clamping) Port Orford Cedar (actually a cypress) has tremendous stiffness for a low density wood. Here are the inner sides wrapped in paper before bending. Here are the Black Cherry sides after scraping in preparation for bending.
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A bunch of nice archtops, flattops, a gypsy & nylon strings… Last edited by iim7V7IM7; 08-15-2014 at 08:03 PM. Reason: Added an explanation |
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Update No.1b
Gluing the back reinforcement strip (love the wooden cams).
Planing and profiling the cross-grained Honduran Mahogany back reinforcement strip. Note the profile of the back reinforcement strip. Chiseling out the back reinforcement strip for back braces. First back brace on (Note glue fillet). Portable go bar deck with go sticks clamping braces. Last two Port Orford Cedar back braces being glued. Here are the Black Cherry and Port Orford Cedar Sides before lamination. This is Peter's lamination setup. More when I get it...
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A bunch of nice archtops, flattops, a gypsy & nylon strings… Last edited by iim7V7IM7; 08-15-2014 at 09:36 AM. |
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This is going to be fun to watch. What is the ebony for?
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Sachi Kolaya Carmen, Trek parlor (by Harv L), Martin 000-28EC, Taylor GC-5 and 355. |
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Looking very nice - and great choice on the tuners!
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