Excepts from an Article in the AMERICAN LUTHERIE Magazine  published by the GUILD OF AMERICAN LUTHIERS  Number 68/ Winter 2001  www.luth.org

.....I use my own 1976 drawing as a guide to start with, following the dimensions and the thicknesses of the top pattern to a rough outline until the guitar is completely built. Before the bridge is installed, I adjust the top thicknesses until the sound is balanced. I install the bridge, string it up, and play it to see where the top equilibrium is. If the top is sounding good, I leave it for a few days to see if there is any major change that might take place while the guitar top is pulling and setting up. At this point I almost invariably will have to go in through the sound hole and do some extra tuning by sanding a little on the struts. This process is very intuitive and requires that an individual experience it for him or herself. It's important not to sand very much at a time, as it takes very little to have a tone change. Most makers already have their own techniques to do this tuning process. I work with the strings at concert pitch and use little sanding jigs that I made from sandpaper taped to configured pieces of wood. If great caution is taken to make notes of the changes in sound with this process, it will normally take just one guitar to get it right.

     Tuning the guitars in this fashion will also give the tops extra sustain on occasion if the builder pays close attention as the sanding takes place. That's one of the reasons that I can get a longer sustain with a short scale. However, if someone just simply follows the plan, a good guitar will result.

     I've built a more shallow box with this pattern, too, and it doesn't hurt; but to get the depth of sound that is so characteristic to the Rodríguez, it's better to leave the original side width.

On the plan I noticed what seems like unusual graduation behind the bridge, centered on the tieblock. It becomes thinner, then thicker, then thinner as it approaches the periphery. Did you observe this in many Rodríguez guitars? How do you think it affects the sound?

Miguel, Sr. graduated one of his 1969 models that way, and continued to do it on occasion with other models I've seen. And Miguel, Jr................

To read the full article with more in-depth information about fine-tuning, please order the American Lutherie Magazine #68 / winter 2001 at www.luth.org    This magazine is still in print and can be ordered through their web page.  Or  1-253-472-7853 in the USA for information on how to order.

Tom Blackshear with R.E.Bruné and Bob Lundberg

at the 1995 GAL Convention

José Romanillos & Tom Blackshear

1995 GAL Convention