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Friederike Linscheid – Luthier
My overarching goal while making my guitars is to give them a certain consistency of expression while preserving their unique personality. For me, this results from a cohesion of sound and appearance of each guitar. Both are defined by form and material, which I select according to acoustic, static, and aesthetic properties. Especially when choosing material for the soundboard, which is extremely relevant for acoustics, I complement traditional methods like tapping and bending with additional physical measurements.
My concert guitars have a great projection, a wide range of timbres, warm basses, and singing trebles.
I give my guitars visual unity by using repeating shapes and materials and a reduced color palette. I offer my guitars in two different designs: a more modern and a slightly more traditional model. Though nearly identical in construction, they differ slightly in shape, with the main distinctive feature being the rosette.
The basic construction of my guitar is that of a traditional Spanish guitar. The bracing of the soundboard is a lighter variation of that designed by Robert Bouchet. Though essentially traditional, my guitars come with some features established in contemporary guitar making. The soundboard descends in the upper bout on the treble side only, creating a one-sided elevated fingerboard to improve the playability and sound projection in the high trebles. The sides are thinly doubled to enhance sustain without adding too much weight. The rather small plantilla reduces the soundboard area, thus reducing the mass of the vibrating surface, ensuring a good response. To compensate, the high sides increase the body volume giving the bass its deep character. My guitars have a french polished surface.