Jeroen Hilhorst

Maker of very special classical concert guitars

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Tradional features in my guitarmaking

 

I started out building traditional guitars. Most of my guitarmaking is still traditional. Like the shape, size and proportions of my guitars, the choice of woods, the glue, etc. But my guitarmaking has developed a lot from that starting point.

 

Modern features in my guitarmaking

 

 I read a lot about guitarmaking and I look a lot at other guitars, especially those that have something in their sound that I would like my guitars to have. I experiment a lot with what I learn that way. By doing so, I have, over the years, developed a couple of things that really improved my guitars. And the proces is still going on.

 

I found that a certain type of soundboard bracing and thicknessing makes strong and long trebles and basses. It improves the volume of the guitar as well as the beauty of the sound. It also makes a very light playing guitar. As a bonus, this bracing also guarantees a long life for the soundboard, in which the sound will not degenerate.

This soundboard bracing is for a part based on scientific research in this field, but it is essentially a traditional soundboard bracing with a little extra.

 

 

I found that it was possible to improve the projection of the sound into the audience by reinforcing the back of the guitar and adding a centerbrace to the body of the guitar. (The centrebrace was already used in 19th century guitars.)

 

I found that a raised fingerboard improved all the aspects of the sound of the guitar. It also makes playing above the 12th fret easier and there is more space between the strings and the sound board, so there is less chance that you scratch the soundboard. (The raised fingerboard was already used on 19th or early 20th century guitars)

 

I found that an armrest improved the sound of the guitar, by lifting the arm of the soundboard, so that it is no longer damped by the arm.

 

I found that a bigger soundhole improved the sound of the guitar. Especially for the player. It serves as a kind of monitor for the player. This is important, because my guitars project most of the sound forwards, straight into the audience.

 

I found that I could varnish the sides and back of the guitar with a modern varnish, without affecting the sound of the guitar.

 

I further found that I could varnish the soundboard of the guitar without affecting the sound, if I kept the layer of varnish as thin as possible.The advantage is that the modern varnish is much more durable than shellack (french polishing).