Holding it, I assess the weight, the Physical balance, and the general comfort and feel of holding it. Sliding my hand gently along the neck, identifying the profile of the neck, I fret some strings, to feel the action and resistance of the strings.
Then I strum it, maybe tune it, listening to the overtones and similarities of two strings as they reach unison. NOW, I play it discovering what responses the top has to the subtle movements of the strings, what timbres ring or are subdued, and the ability to be quiet or loud and in between.
This playing continues as long as I want to assess the sound, and the guitar touches my heart and soul.
If this session lasts for two hours or more, The guitar “warms up”. Guitars do that after they have moved air for that length of time. Now I am really hearing what this instrument can do!
David Freeman, Craftsman Built Instruments
This is the listing of individual instruments, all built to the highest acoustic
sound quality with exceptional woods sourced around the world
The Groove comes easy when you pick up one of these guitars to play
I am David Freeman. The models You find here have been developed since 1980 focusing
on Attention to Detail in all aspects of hand-building the instruments to deliver
exceptional Sound, Playability, and Aesthetics
Instruments are guaranteed in structural workmanship and materials
"Action like the Speed of Light"
"Breaking Sound Barriers"
"Tradition with Innovation"
Keeping time-trusted traditional methods of instrument building and shapes
while at the same time refining and innovating to get improved and extraordinary sound
You will also find Instruments built by Seth Freeman on these pages
Make contact email@example.com for more information
We welcome our customers to arrange a shop visit, then you can play the instruments and hear, feel, and see the difference
Or to find the next guitar show, where we'll be displaying our instruments for sale
go to Shows Schedule
We take customised orders and are happy to co-design with You
For more information go to our Custom Commission
I first incorporated the soundwedge into the build of my guitar in 2010. It is opposite to the Manzer wedge -expanding the depth of the bass side and narrowing the depth of the treble side- creating a separation of Bass and Treble sound responses to give the player more definition, making room for those mid range frequencies
The guitar is then balanced through the full range of the strings commanding a strong response when You want it
In addition the rolled top armrest allows the wider bass side to fit comfortably under the players arm
The Rolled Top Armrest
The lower Bass bout top is rolled over, eliminating a sharp corner that cuts into
the player's strumming arm
This feature allows the bass side to be deeper, without the Player even noticing, an essential feature in a soundwedge
The Side Port
The side port is an opening on the upper bout (Player) side, to monitor the Player
Incorporating a sliding door to the port, the player can vary the opening, changing tone
Half open articulates the bass and treble; fully open warms up the sound
The side port directionally changes the projection and fully open, in a small room, everyone hears equally and not just the people in the front. The player can close the side port door for unidirectional, forward projection
The door slides snug so there is no buzz and remains where You set it
The Offcet Soundhole
Off Centre, the Offcet Soundhole allows for a deep cutaway, to access the 24 frets,
maintaining visual balance to the upper bout section
This assists in monitoring the Player.
The Player's strumming hand, therefore covers less of the soundhole, adding to the success of the guitar's sound projection
Buzz Feiten Intonation
Buzz Feiten Intonation forms intonation that balances the strong and weak notes and evens each string response, especially the B & G strings
If You are playing in a regular band using standard intonation, Your instrument can be set up for this. For consistency, all the instruments in the band should be intonated the same way
The Neck Join
Standard Neck Join used is the integral (Spanish) heel and is
solid throughout the heel/toe block
This subtly moves sound energy more efficiently, from the neck to the back and top. It is this culmination of subtle differences that results in finer sounding instruments
The integral heel does not come apart at the join, like so many other neck attachments, instead it's solid to the internal heel block
When the neck rake is set, the integral heel maintains the best efficiency in sound conduction and structural strength
I have used this Neck Join since 1980, on Acoustic Bass guitars, steel strings, and nylon, and it has proven, to have the strength necessary for the 150 psi plus of the steel strings and be more reliable and more effective
Dovetails, bolt-ons, or mortise joins can be custom ordered from us.
Often with guitars, it's the join that becomes loose, when a neck reset is required
Bolt on necks are the easiest to reset
Mortoise and tenon joins are second most efficient for sound conduction and stability
For sound purposes only hand-cutting tools are used inside the box of our hand-made guitars
A certificate of Origin of Wood will accompany every Instrument
This will be Cities Treaty of Endangered Species compliant