Part 1

Neck Woods...

Necks of Richard Prenkert  Zimnicki Guitars  Trinity Guitars  McGill Guitars Christopher Carrington

        There are a number of factors that determine the tonal properties of wood for a classical guitar neck. The wood can respond differently in the hands of different makers and/or different models of guitars. Distinctions can be subjective. Materials of the neck and fret board along with the quality of each individual piece can have a significant bearing on tone. Honduras Mahogany necks help to create a warmer tone. Brazilian Rosewood adds sparkle and ring. Indian Rosewood can help fatten up the midrange. Maple necks can create bright tone. Spanish Cedar & Figured Koa is often used. The grain of the neck should be straight and consistent. Irregular grain, susceptible to humidity changes, can cause performance problems. The neck may be reinforced with carbon fiber rods, ebony reinforcement strips or equipped with an adjustable truss rod to maintain the proper relief demanded by many of today's players. The shape & width of the neck are probably the most personal element of a classical guitar. They affect how easily one can move on or up and down a neck.

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Two methods of cutting the neck out of a block of wood.

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The Headstock...

Headstock of Jose Oribe

        The uppermost part of the neck, above the fingerboard nut, holds the tuners on a guitar. The headstock is slanted to increase string tension to the fingerboard nut. Makers know the size and weight of the headstock can alter the balance, tone, clarity & sustain of the guitar. The shape & size of the crown of the headstock can be a trademark.

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Headstock Veneer...

Headstock Veneers of  Christopher Carrington  Peter Oberg  &  Rodriguez Guitars

        The Headstock veneer is a thin slab of wood added to the top of the headstock to hide the end grain appearance created by the slant of the headstock. Wood used for the veneer can be highly figured as in flaming koa or plain ebony to highlight an inlay or the unique shape of a headstock.

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The Tuners...

        An improperly wound string is the number one culprit of tuning problems. If the string is not properly wound around the tuner post it will slip (See How to change Classical  Guitar Strings). An attempt to rotate the roller (instead of the knob) of a set of tuners (of any quality) is impossible without stripping its gears or bending the mounting plate. Tuners don't slip, strings do.

Knob- Often plastic, ivory, bone or ebony.
Mounting Hole- Spacing often varies with different brands.
Gear Screw- First place to look when tuner rattles.
Mounting Plate- If the plate bends the gears will break or slip.
Tuning Gear- Gears with zero play make for better tuning.
Roller- Usually plastic, Sometimes ebony or aluminum.
 

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