Kellaway Classical Guitars are produced with a particular sound in mind — a combination of sweetness and clarity, even response and high volume, without sacrificing an inherently traditional tonality in the Spanish style.
These instruments are produced with meticulous attention to detail, using traditional design parameters with weight, traditional but unique rosette and headstock design, aesthetic heel carving and neck shaping, set up for ease of playing without sacrificing clarity and volume.

To achieve this sound a number of modern techniques are used while the choice of certain timbers plays a crucial role in tone production.

Back and Sides

The back and sides are usually Brazilian Rosewood , but other timbers such as French Walnut, Queensland Maple and Tasmanian Myrtle have been introduced with no alteration to the tone. Finish is French Polish with a final coat of nitrocellulose lacquer for durability

Necks

Necks are either Mahogany or Cuban Cedar. They are fitted to the body with a tapered dovetail joint similar to a Fleta, allowing total control over neck angle and making repair work possible in future decades. The neck shape has been developed for pleasure and ease of playing . The heel was inspired by Fleta and is carved for maximum access. Finish is as for back and sides. Fingerboards are Black Ebony, with Jim Dunlop 6230 frets.

Bridges

Bridges are Light Brazilian Rosewood, utilising a 12-hole tie block which increases the break angle over the saddle, while allowing a low saddle. This method also makes string changing very quick and easy. The tie block is faced on both sides with bone for longevity.

Soundboards

The heart of the instrument, the soundboard, is European Spruce, and is braced with a lattice of European Spruce. In the lower bout the thickness is graduated to the edge and the lattice is likewise scalloped around the perimeter. The lattice is pre-assembled and then pre-stressed into a mould during the gluing to the top, creating a domed final shape. This resists the deflection caused by the twisting motion of the bridge under tension and allows vibration to occur around the edge, thereby pumping the air as a diaphragm, similar to the action of a loud speaker, when energised by plucking of the strings.

Linings are currently made of a type of Big Leaf Maple, laminated in two strips, making an exceptionally stiff outer edge while not adding excessive weight. The soundboard is finished in three fine coats of fine satin lacquer for maximum sound response and ease of repair. A french polish with high gloss can be done to order.

Headstock & Rosette

The headstock is the personal design of the maker, inspired by Torres with a touch of the woodturner. Schaller machine heads are used. The rosette was also designed by the maker.
Specifications

Standard scale length is 650mm. A short scale at 630mm is available to order which has equal characteristics to the normal scale in terms of volume and tone.

Jim Redgate is a designer and builder of modern cutting edge classical guitars. His models include the lattice braced, double top, and the new “wave” double top (pictured). Redgate’s creations are the first choice of an increasing number of professional guitarists.

Played by:

Ana Vidovic (USA) Lattice

Ralph Towner (Italy) Double top

Slava Grigoryan (Australia)  Wave Double top

Leonard Grigoryan (Australia) Double top

Bertrand Thomas (France) Lattice

Jeff Young (USA) Lattice

Gareth Koch (Australia) Wave Double top

Odair Assad (Belgium) Double top

Wolfgang Muthspeil (Germany) Wave Double top

Karen Schaupp (Australia) Wave Double top

Emmanuel Rossfelder (France) Lattice

Hucky Eichelman (Germany) Lattice

Phillipe Mariotti (France) Lattice

Inquiries and orders to Chris Kamen guitars@classicguitar.com

Specific questions to jim@redgateguitars.com

The guitar, its makers and its players have sojourned for over 500 years, always changing and growing to bring the whole sphere of the guitar’s development to its current level of beauty. Because of this rich history, the ongoing development of the guitar should always hold in consideration what has already taken place, and use the best of what has been learned from the past to contribute to the continued maturing of the instrument.

Combining these advances from the past with contemporary knowledge and vision, I am able to lovingly produce instruments that are moving towards the sound ‘image” that is stored away in my musical imagination. I refuse to be a slave to either tradition or technology, but keep a broad perspective of the entire process so the ultimate musical goals can be attained for each of the instruments produced. This is why I can have a high regard for such a great maker as Antonio Torres, yet build using the lattice braced style that has become so popular.

I started building guitars in 1985 using the traditional fan braced design, yet after eight years of building I came to realise that the sound of the traditional guitar, as beautiful as it is, was always missing something that left me, personally, wanting more, even though my guitars were receiving flattering comments. It wasn’t until I built my first lattice braced guitar that I finally heard the sound that had been in my head for many years. In hindsight, I now know that the sound that I am currently producing, is simply not possible to obtain using the tried and true traditional processes. With the considerable extra time and effort it takes to painstakingly produce a lattice braced guitar, who would do it unless they were totally committed to their own sound image? The over riding guide for me is,quite simply, musicality. In other words, whatever makes the instrument more musical for the player, the audience and the maker should be pursued, even if this means one has to move away, to some degree or other, from what is commonly held as the traditional way. Looking at it another way, tradition is an ongoing process. Just ask Torres!

http://www.sheridanguitars.com.au/

In 1984, Simon Marty was given an Australian Government grant to use advanced research methods (laser holography and computer finite-element analysis) to explore and further develop his design innovations. Simon began building guitars in 1982 because as a player he became interested in exploring new approachs to guitar design that could produce performance improvements. He has a doctorate in electrical engineering and science majors in physics and mathematics.

Commencing a detailed investigation of the physics and construction of stringed instruments in general, he applied his ideas to the construction of non-traditional (i.e Torres based) designs. The fruits of these endeavours were loud, responsive, well-balanced instruments.

An obsessive and consuming interest led to Simon departing from his career as a research scientist to build guitars full-time (engineering now being a spare-time activity) and continue their evolution. While Simon is not interested in building fully traditional instruments, the aesthetics and fundamental Mediterranean quality that attracted him to the guitar in the first place remain the guiding principle of his work.

For more information regarding Simon Marty Guitars please phone or email via the contact details below.

Simon Marty uses only Karura flight cases – for more information visit www.karuracase.com

Simon Marty Guitars are played by many fine and elite musicians including: Hucky Eichelmann
Jose Antonio Escobar
Anthony Garcia
Slava Grigoryan
Franz Halasz
Gareth Koch
Karin Schaupp
Scott Tennant
Robert Wetzel
Zagreb Guitar Quartet