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Gallery: Story of the Strad

The Strad by Stuart Mewburn This is a copy of a guitar made in 1680 (or 1688 - no one is sure of the exact date) by Antonio Stradivari. But is not an exact copy.

Before I began, Mike Tildesley who commissioned it, and I, had a long discussion about what sort of sound he was looking for. I did research at the Horniman Museum which has one of the best collections of musical instruments in Britain and went to see the Strad in the Ashmolean in Oxford.

And I got to play several 18th century guitars owned by James Westbrook.

We agreed that I would make some changes to Strad design. I built a copy of the neck/heel Stradivari used (it has a 4 inch nail in it) and tested it to destruction. The join broke at 26 kilos. So I adapted a Spanish style neck/body join to look like the Strad join.

I also moved the bridge to the centre of the soundboard, made a slightly thicker board and braced it.

The result is a guitar that has much of the beautiful sound quality of the old guitars I played but is much louder.

I believe that a guitar like this with metal frets, nylon strings and modern tuning would make a delightful, easy to play guitar.




Click on a picture below for a larger view:

Turning boxwood pegsBasic peg shapeAll pegs turnedCutting pegs in a jig
Head and neck ready for joiningGlued veneersVeneers glued to maple headstockChiselling out inlay lines
Ebony fingerboard and white inlay glued to neck before the head or heel is put onFlattening the fingerboardCutting bone inlay diamonds for decoration around sound hole; 5 pence piece shows scaleEach piece of bone is about 3.5 mm wide and .9 mm deep
Making jig to bend sidesA workboard is needed to build a dome into the top.  The original Stradivari is flat but slight some may prevent is cracking in extreme conditionsJig filled, smoothed and ready to bend sidesBending a side
Assembling bent sidesGluing sides together with a wooden blockMale joint at the end of the neck for joining to headFemale joint on head
Head and neck ready for joiningGluing head to neckCutting heel outBottom view before shaping heel
Rounded heel cut to shapeGluing inlay lines in placeJoining neck to sidesDuring the drying process  some of the epoxy resin leaked through pin holes and into the surrounding soundboard
The stained spruce had to be cut out and replaced by new spruceThe Strad in the Ashmolean has no bracing the the working part of the soundboard.  I gave it some very light bracing to see if it would improve the volume of the finished guitar.
Cut ebony inlays for the soundboardCutting the inlay shape in the soundboard Checking the inlay for depth
Inlays glued in placeEbony inlays where neck joins bodyIvory edges addedMarking bridge before cutting
Making inlay for bridge Shaping front of bridge with fishtail chiselFinished guitarSound box
Detail of inlayHead from frontSideBack
Rosette by Elena del Cortivo


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