Carbon fiber classical guitar: wood versus composite

We decided to make a nylon string Blackbird because many players requested the instrument and like our steel-string, it can handle the rigors of travel without excessive size, fragility, and weight. Having studied guitar at Eastman School of Music for a time (I am no Parkening mind you), I designed the instrument around the needs of classical players. A wide, familiar neck profile, 650mm scale length, as well as reduced bracing to account for reduced string tension. The result is a small-body, yet highly resonant instrument that sounds like a nice classical guitar.

I have not mentioned Carbon Fiber as of yet because for us it is simply a very resonant material with exceptional strength-to-weight and is very flexible to design around. Primarily it allows us to make an ultra-light, all-hollow instrument (including neck and head) with the body neck and head being constructed as a single component- which provides the enhanced resonance. Because this component is molded, we can contour the back for comfort and to further maximize the resonance area with a slight bowl, and body extension.

We know that many of the great classical guitars these days are using carbon fiber extensively- in fact one could say that many of these instruments are composite simply with wood on the outside layer as in the carbon fiber lattice-braced instruments. The great builder John Gilbert, who is supplying us with our tuners (his son-in-law Greg actually) and advising on our guitars, built all wood classicals and by most accounts exceptional instruments. What separates his from wooden student guitars say is the quality of the raw materials, myriad novel design features such as unique bracing, saddle design etc., and superior execution. These are the same differentials we seek in our instruments which is perhaps why Gilbert is impressed with how much like a nice wooden classical guitar Blackbird sounds. Interestingly like him, we are weight obsessed so this instrument is only three pounds as that is one key to a quality instrument. He did say the sustain on the Blackbird is superior on account of the one-piece design and of course the durability and environmental resistance.

Wood of course has its place, particularly with master grade instruments but I believe that as good wood becomes increasingly scarce, alternatives must be considered. Composite instruments are the best alternative we have at the moment and are currently designed to either emulate wood or embrace that unique carbon sound. This shows the breadth of expression when defining the composites schedule (arrangement and choice of the fabric layers and resins). There are inherently more variables than a wood guitar to work with. Its as though instead of spruce, cedar, cyprus as soundboard materials we have hundreds of suitable woods each with its own expressive qualities. That said we still like good wood, which is why the Blackbird with carbon fiber construction was put on the Earth to solve some problems and provide real benefits that wood construction cannot. Namely enhanced resonance and durability in a small body guitar.