Friederike Linscheid

Friederike Linscheid crafts modern concert guitars defined by a clear design language and a strong tonal identity. Her instruments offer powerful projection, warm basses, singing trebles, and a versatile palette of colors. Combining traditional Spanish construction with precise physical measurements—especially in selecting soundboard materials—she achieves both consistency and individuality in each guitar. Distinctive features include a reduced visual palette, refined outlines, an elevated fingerboard created by a dropped soundboard section, and double yet lightweight sides to enhance sustain. Finished entirely with hand-polished shellac, each guitar reflects her refined aesthetic and structural concept.

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Friederike Linscheid – Guitar Maker

In building my concert guitars, my goal is to give them a consistent expression while allowing each one to develop its own personality. For me, this arises from an inner harmony between the instrument’s sound and its visual appearance.

Both aspects are shaped by the selection of materials and forms, which I determine based on acoustic, structural, and aesthetic criteria. When choosing the tonally influential soundboard material in particular, I use physical measurements alongside traditional techniques such as bending and tapping.

The sound of my guitars is suitable for the stage—powerful, with wide projection, rich tonal colors, warm basses, and a singing treble.

To create strong visual unity, I use a reduced color palette and repeated material and design elements. I offer my guitars in both a modern and a more traditionally influenced design. Structurally, the instruments are nearly identical and differ mainly in the rosettes and slightly modified outlines.

The fundamental construction follows the classical Spanish guitar tradition. The bracing system of the soundboard is based on the concept of Robert Bouchet but executed much more delicately. Subtle structural and visual details go beyond conventional boundaries. For example, the soundboard drops on the treble side above the soundhole, as the raised fingerboard improves playability and sound projection in the high treble. The relatively narrow outline results in a slightly smaller soundboard area, reducing the mass of the vibrating surface and contributing to quick response. To balance this, I increase the body volume with high sides, giving the basses their deep character. The sides are doubled but remain thin, which benefits sustain without adding unnecessary weight. All instruments feature a hand-polished shellac finish.