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Nylon string - jazz

Dolphin Concert Jazz

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The dolphin got his name by the special shaped fingerboard that goes over the soundholes. The idea for this guitar came from my respected friend Mr. Uwe Kropinski. He ordered in 1990 a 4 octave guitar with a scalloped fingerboard and that is what he got...

In 2001 a new design of the same concept has been successfully made for Uwe Kropinski. We agreed that there is in fact no superior nylon string on the market which is not a classical guitar. And there is a small need by jazz and/or pop artists to perform on nylon string guitar which has the superior acoustics of classical concert guitar but with features that would accommodate their own way of playing.

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This delicate fully acoustic nylon string concert guitar uses the same high quality standards that the classical concert guitar offers. The standard Dolphin version is available with 24 frets. Due to the combination of the raised fingerboard and the extreme deep cutaway, good access is granted, even to the highest positions.

This guitar has a remarkable sustain, not found by other nylon strings. Traditionally built loud classical guitars often do not have sustain at all and sound almost like a percussion instrument. Our guitars are sometimes compared to have a piano like sound as a chord beautiful melts together but at the same time presenting a strong clear separation of each tone within that particular chord.

Dolphin Concert Jazz

Uwe Kropinski Custom Special

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The standard Dolphin is designed in close collaboration with the great guitar player Uwe Kropinski. The personal guitar of the Uwe Kropinski is merely an adaptation of the standard Dolphin. It features those special extra's that accomplish Uwe's Specific Style of Playing.

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Very obvious is the extreme long fingerboard that features 39 frets.
The fingerboard is also scalloped to Uwe specification.
The bridge has a string spacing of 60mm instead of the standard 58mm.

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For the neck we used an ebony veneer, because Uwe did not want a varnished neck. (Like most bowed instrument are not varnished either.) By using a 1mm thick ebony veneer we achieve two advantages; it just looks great and keeps the back of the neck clean but this also helps to tighten the neck, providing a higher stiffness.
Instead of using Rodger machines, Uwe preferred the use of Freewheeler machines on this guitar.

We needed to adapt the inside of the guitar for Uwe, to allow him to play his typical percussion.

The amplification is set-up with a custom mic-system inside the guitar and a Schertler pick-up underneath the bridge saddle.