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Robbie, that's really nice. And again, I think the shamrock sound port is a bold move. Now--what are your opinions about the contribution of the soundport?

Steve

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From Nacogdoches...the oldest town in Texas.

http://www.stephenkinnaird.com

Robbie - love the shamrock! I'm still considering a skull and crossbones on one for myself (Steve Kinnairds idea). How do you like the effect of the port?

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Instagram: @jfrenchluthier
Web: https://www.jfrenchguitars.com/

Hi Robbie

I'm late to the party !

What can you say about that guitar but SUPERB !

Like Colin I love that finish.

Russell

[QUOTE=rlabbe] Hey Robbie, nice work.

Care to share the general brace dimensions and top thickness? I ask because the few measurements I have seen have been all over the map. I have the LMI Fleta plan, so if you are using that then there is no need to duplicate the info. I do know that I have read that Fleta left his tops thicks despite the 9 fan braces.

If I remember correctly you took Marshall Brune's FP class. Did you play that sweet, sweet Fleta they have in the shop? Not the good one, but the great one. I was playing Bach's 4th Lute suite on it and for the first time in my life effortlessly got the singing trebles that Williams got in the prelude above the 12th fret. I was so shocked I stopped playing and just stared at the guitar, then replayed the phrase. Same sound again, just like the Williams CD. I suggested to Marshall that the guitar should be included in the course fee, but oddly, he was having none of it. :)[/QUOTE]

My top thickness on this one is 2.5mm in the middle and 2.4mm on the bass side and 2.2mm on the treble side. The braces are spuce instead of cedar and are 4mm wide X 6mm. except for the first three on the treble side which are 4mm. X 7mm.
I followed somewhat the plans from the "Making Master Guitars Book" by Roy Courtnall. I did go to the Brune workshop this summer and I did play the Fleta you are talking about as well as many others. I put a bunch of them up on the rack and looked under the hood as well. I talked exetensively with Mr. Brune about the Fleta design and he told me the plans in the book I used are not really a Fleta design. There are quite a few differences that unfortunately I can't recall right now.     

[QUOTE=csullivan] Robbie,
don't you ever come out of the shop? My first love is classicals and when I
see a beauty like this I fall in love all over again. Elligant.
Craig[/QUOTE]

It sure feels like I don't. I spend the majority of my waking hours in the shop and then teach guitar building at night.

The effects of the soundport... GREAT!!!! It really opens up the guitar. I have slowly been moving the position of the soundport back towards the middle of the upper bout and like the results. I feel this is the best place for the soundport on my guitars. At first I was afraid I would lose some projection and volume to the audience but ther opposite was true. The guitar actually projects more to the audience. I was also worried about the guitar being too loud for the performer and this also wasn't true. The soundport is a very positive addition in my book! And, it looks cool and really calls attention to the "attention to detail" on the inside of my guitars.