Scharpach Guitars

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Concert guitar

Classical

This guitar has become one of my masterpieces. It took about 15 years to develop this classical guitar. A complete new approach has established a new type of classical guitar. The guitar features unique constructions, like the double soundtable resonator: separated by a bracing system from the back of the guitar, or the new semi-cutaway.

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The objective of this building method is to construct a guitar with far better acoustics.The little time of energy being produced by the player should as less as possible be dampened by the guitar itself. One has to remember there is only a short input of energy that must reproduce the attack into a tone.

The topplate should be able to vibrate very intensively, as being the only medium capable to amplify that short pulse. The other parts of the guitar are basically constructed not to dampen the vibration, as this will have a negative impact to the further development of tone.

Most players are used to the very midrange nasal tone, being produced by most classical guitars so far. Because of the midrange nasal tone, these guitars only seem to be louder then they really are, mainly because of this particular narrow register of frequencies. This midrange register also narrows down the tonal colours that a guitar is able to produce.

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The sustain of the classical guitar is remarkable, because of the applied construction method. One example is the carbon fibre reinforcement, invisible inlayed into the neck. This carbon-reinforcement is custom-made in France, for Scharpach Guitars only.The reinforcement is nonflexible, has only longitudinal windings and is damped. The effect is to stiffen the neck and also to produce a neck with no dead spots. But not only the sustain is substantial longer, also the tone fades out back to the keynote again! Most traditional guitars will fade out into upper tones.

The consequences of these qualities for the player are to have more control over the music. First; the available tone is longer, therefore the player (not being hold back by the guitar) has a choice to hold the note or to mute.
Second; each note played, can be heard in the chord separately and will not vanish into the chord itself. Any serious musician may know the advantage this will bring to the performance of a piece...
It speaks for itself that this instrument delivers good power and projection in any concert hall. Third: Another remarkable item is the filtering of the left hand noises.
As a result of the specific construction method used for the neck, stringnoises, that always occur when the strings touch the frets, or even sliding noises when the hand changes position, are being heavenly dampened.

Because the guitar is perfectly able to control the energy of the strings, it allows a lower action. Due to the unique semi-cutaway and the raised fingerboard it is for the first time possible to have really easy access, even the to highest registers. It is nice to notice that the guitar still sounds in these high register as well.

Email from Japan:

"I think when your guitar is with Thomastik strings, it sounds like two different instruments playing at the same time, wood bass or cello and guitar, I have never experienced this feeling so far.
I used to play arcangel fernandez jacaranda, it sounds bit similar to your guitar. but of course your guitar is better.
I had used many guitars like friedrich, arcangel, marcelino lopez, hernandez and aguado, paul jacobson, manuel reyes, lester devoe...... so many they are called best guitars.
But I can say your guitar is the best.
It’s true!"

best regards

Ryoji Mochizuki
~ Owner of the top model Scharpach Classical Concertguitar ~

Only the very best materials are selected. For the top superior quality of Canadian cedar or German spruce is being used. The sides and back feature extremely old Brazilian Rosewood. The double sides do have a contra-side of German Maple.