Michael Thames
Guitar Luthier
Classical Guitars
My passion for the classical guitar has occupied me for most of my life. I took guitar lessons in 3rd grade, and built my first guitar when I was fifteen years old, and never stopped. To date I’ve made over 800 guitars, over a period of 40 years. The guitar has been good to me, and hopefully I have contributed something meaningful to our world as well.
Over the years, trends and tastes change, and at times is hard to stay focused and not get distracted with every new thing. My feeling is a good guitar is a good guitar, whether it is traditional design or not.
It is difficult to put into words my feelings about guitars because I think every guitar has something to offer. I do however feel the most important quality to a concert guitar is response and playability, if that is present everything else seems to fall into place.
I have been fortunate over the years to have formed friendships with many important guitarists, in fact too many too mention here, so I will just refer those interested to my testimonial page.
Guitar Specifications and Pricing
Currently I offer a number of models and options. My standard Concert Guitars are of course either spruce or cedar soundboards with various choices for back and sides. East Indian rosewood, birdseye or flamed maple, Brazilian rosewood, and many other popular rosewoods such as Madagasar etc.
On most of my guitars I laminate the sides, with the exception of historical copies, or at the customers request. I feel the lamination of the sides has much historical precedence from the 19th century, and early 60′s until today, many well respected makers such as Ramirez, Fleta, and Friedrich used lamination in the construction of their guitars. This is especially beneficial in the use of cedar soundboards.
My standard concert guitar is made with East indian rosewood back and sides, I use “Cedro” otherwise known as Spanish cedar for the necks, with a carbon fibre rod in-laided for strength. The scale length is 650 mm. With a nut width of 52 mm. Necks are 22 mm depth at the first fret and 24 mm at the 10th fret.
All rosettes and inlays are designed and handmade by me, that’s the way I’ve done it for 40 years.
Standard tuners are Gotoh premium, or premium Rubner. Other options are of course Alessi, or Rodgers at the current market price.
The finish is either French Polish or lacquer. However, my preferred finish is French polish with one coat of lacquer over the French polish. I feel this is the best of both worlds, and one coat of lacquer will not adversely effect the tonal quality of the guitar in a negative way, in fact contrary to popular belief I feel Lacquer if used sparingly can improve the tonal qualities as far as the treble and higher partials are concerned, as well as protect the guitar from perspiration and humidity changes, and general abuse. French polish is very delicate and needs special attention.
However, I will either French polish or lacquer at the customers request.
Standard frets are Dunlap 6105 or 6100. These are larger frets and personally find them to play much easier than smaller frets, especially for barring.
Prices very according to the various woods and tuner options.
Standard Classical Concert guitar with either Spruce or Cedar soundboard, and East Indian back and sides – $6300.00
Brazilian rosewood back and sides with spruce or cedar soundboard – $7200.00.
I also make “Doubletop” guitars at the same price of my standard guitars.
I do on occasion make a “special” guitar when the spirit moves me, usually these are created from a spontaneous inspiration, and are not commissioned or committed or until completed. Occasionally I need the freedom of making non-committed guitars for my own creative sanity.
Please feel free to contact me and discuss other various options you have in mind.
Classical Guitars with a Tornavoz
In addition to my other models I offer a guitar with a Tornavoz. The Tornavoz essentially acts as a helmholtz resonator and slows down the movement of air in and out of the soundhole thus lowering the air mode. This idea was used and ( invented?) by Antonio Torres and used on most of his guitars, until they were removed later by repair persons not understanding it’s significance.
The Tornavoz has gained in popularity lately since it’s relative abandonment at the turn of the century. I was greatly encouraged to make a guitar based on Torres and his design of the Tornavoz by a good friend and excellent guitarist Gary Stewart, who earlier commissioned a 19th century Pons guitar from me as well.
I would however like to add a few thoughts about the correct use of the Tornavoz which is based on my own personal experience.
The best situation for the use of the tornavoz is a guitar designed from the ground up for the specific use of this feature. I have retrofitted paper or plastic tornavoz on regular guitars not designed for these, with varying results.
However one must understand why Torres used these in his guitars and what characteristics Torres guitars posses.
My Tornavoz are made from brass, and are the same dimensions as Torres used.
My feeling is the Tornavoz does best on very lightly constructed guitars. The Tornavoz virtually eliminates the percussive attack of guitars that are made very lightly, which is no small matter. The Tornavoz enhances the benefits of a lightly constructed guitar such as Torres without the unwanted airy percussive attach which is endemic to these type guitars, gretly boosting the bass sustain and treble fundamental.
Price of these guitars vary according to the various options and woods, however the base model starts at $7200.00.