Classical Guitars

The guitar design for all J.S. Bogdanovich classical guitars got its origins from a Hauser/Torres guitar design. Incremental design changes were made over the years to improve the sound and playability of the guitar. Very little of the orginal design remain today. Only the plantilla from the 1937 Hauser from which this design began is still unchanged.

The sound of Segovia's 1937 Hauser always appealed to me, even with the less than ideal sound quality of the old recordings. Therefore, when I began making guitars I started trying to reproduce this sound with the Hauser/Torres design. The more conscious I became of the sound of the guitar in general, and the more I listened to other guitars, the more open I became to other influences, and my concept for the ideal sound began to evolve, and my design began to change. I began making incremental changes to move in the direction of the sound I now had in my head. Design changes continue to be madeto this day, as the evolution is never really finished.

It is difficult at best to describe sound with words due to the fact that sound, and language, are both so subjective. For example, what some might call bright, others may refer to as punchy. In trying to describe the sound of my guitars I will limit my words to those I typically hear other people use to describe the sound of my instruments. The phrase I hear most often is that they have a traditionally Spanish sound. I would not disagree with this statement. Additionally, they have character, a full tonal palette, and power.

One thing I have put much effort into is making them consistent. It is very important that from guitar to guitar there is some commonality to the sound, even with the different woods. The different wood combinations have tonal characteristics typical of that type of wood, but it is also obvious they have all been made in the same shop. Enough said, I invite you to come and listen to one yourself.

Guitar Details

The details on an instrument can certainly add to the overall visual appeal. Particular care is taken in pulling together all the details to make a cohesive design. Schemes are changed regularly to keep things fresh. If there is a particular scheme you prefer, chances are it can be applied to your instrument, please inquire. I have used a variety of rosettes with different colors and types of wheat motif, and a Greek motif on occasion. All the rosettes have a natural wood center ring. This section is selected from a vast supply of burls, spalted, crotch wood , and veneers on hand. This center ring serves as a signature of sorts for my instruments. If there is a particular scheme you prefer, chances are it can be applied to your instrument, please inquire.

Colored veneers have added to the mix because not only can they brighten up a design, but they introduce many more color combinations than are available in natural wood. These colored veneers are often used right along side natural wood veneers create the right effect.

Whatever the scheme, effort is taken to use colors that compliment the woods of the guitar without demanding too much attention. For me less is often more. Highly figured woods are avoided for a number of reasons, not the least of which is their inherent instability. The guitar in of itself is quite beautiful with its curves and human quality it shouldn't have to compete for attention. There are examples of various schemes throughout the site and in the classical guitar galleries.