Binh's Tasmanian Blackwood Cutaway Crossover Classical Guitar
The Rose II
Commissioned by Binh Van Hoang
The Rose II is a full-size Cross Over Classical Guitar with Dreadnaught proportions, a scale length of 645mm, 14 frets to the body and a Venetian Cutaway. This Guitar, serial No. CrossO-TBW001 was made by hand using the materials list below.
Back and Sides - Tasmanian Blackwood (Acacia melanoxylon)
One of Australia’s best-known Tonewoods, used both nationally and internationally. The curly or fiddle back forms can be visually stunning.
Soundboard - Western Red Cedar (Thuja plicata)
As a tonewood, Western Red Cedar was "discovered" relatively recently. Over the last 30 years Red Cedar has gained tremendous popularity. Initially, it was taken up by Spanish Luthiers building classical guitars, but in recent years makers have expanded production of Western steel string guitars using Red Cedar soundboards. Quarter sawn Red Cedar offers exceptional tonal quality. Although the wood is less dense and softer than Sitka Spruce it produces a crisp balance of sound.
Soundboard Bracing System - Falcate
The Falcate soundboard bracing system has been made to fit into and was assembled in a 40ft radius dish, which increases its stiffness and structural integrity. The Carbon Fiber reinforced Falcate (Sickle shaped) Bracing is made of strips of King Billy Pine, laminated into sickle shapes that are radiused to 40ft. There’s a layer of Carbon Fiber between the bracing and the soundboard. The Bracing tops were profiled, and another layer of Carbon Fiber put over the top, effectively making an “Í-Beam” like structure. This radiused and curved symmetrical bracing system is of low mass and is incredibly stiff.
Headstock (front), Body Bevel and Bindings– Black Gidgee (Acacia cambagei)
The Fretboard is bound with Black Gidgee and has 2mm Paua purflings. Gidgee is perhaps Australia's hardest wood. This is the same species as Ringed Gidgee except it is much darker, nearly black. It came from Central Western Queensland near Isisford.
Headstock (rear)– Huon Pine (Lagarostrobos franklinii)
Famous for its durability and extensively used for boat building in Tasmania.
The Birds Eye variation is quite rare and while not suitable for structural use it is highly sort after for its aesthetic appeal. It is critically endangered and no longer harvested.
Rosette – Open Composite Design
Composite design using segments of Rosewood Burl and Ringed Gidgee and Silky Oak.
Fretboard and Bridge – Jungle Blackwood (Acacia melanoxylon)
Yet another example of the enigmatic Acacia. This tree grew in the rainforest near Wujal Wujal in far north Queensland. Same species as Tasmanian Blackwood but a world apart.
Body and Fretboard Purflings– New Zealand Paua Shell (Haliotis iris or austalis)
Paua is the Mauri name for Abalone. While the name Paua is used extensively in NZ to describe any Abalone collected from NZ waters, in the Luthier world Paua usually means it’s the predominately blue abalone that comes from the south end of the South Island.
Nut and Saddle – Hand made from Northern Territory Buffalo Horn
The 6mm saddle is a firm fit into the Bridge but can be removed if needed. It has a line scribed along the soundhole face; this indicates the orientation of the saddle in the bridge. The Nut has been slotted for EJ45TT Strings. The Nut is also a firm fit; it has a small amount of CA glue holding it in place.
Fretwire – Jescar Evo-Gold
EVO Gold wire is a harder material than nickel silver though not as hard as stainless steel. It has excellent working properties and provides the player with increased fret life. The Fret ends have been individually spherically shaped and polished.
Neck - Tasmanian Blackwood (Acacia melanoxylon)
A 3-piece neck, with Black Gidgee Spine and a Volute transition between neck and headstock. The Neck is fitted with a Double Acting Steel Trussrod, accessible from the Soundhole with a 4mm Allen key. The Neck to Body Joint is a “Flat Bolt on Bolt Off” construction, having 2 x 6mm metal threaded inserts in the neck heel and 2 x 4mm bolts in Neck Extension. These bolts are accessible through the Soundhole with a 4mm Allen Key and 8mm spanner respectively.
Tuners – Custom Built by Rubner of Germany
Gold with engraved plates and Rosewood Buttons. Exceptional High-quality tuners and recognized as such around the world. Rubner was founded in 1864 by Josef Rubner, as the first machine centre in Markneukirchen, Germany. Some of the original machines are still in use today.
Strings – D’Addario Pro- Arte Nylon Core EJ46
Pickup –LR Baggs Anthem
LR Bags' patented 'Tru-Mic' technology, seamlessly combines a proprietary condenser microphone with an Element pickup to deliver the warmth and fidelity of a studio-mic’d guitar.
Finish - Hand Polished, Nitro Cellulous Lacquer
A hardwearing lacquer that is chemical resistant and easily repaired. Sprayed with 20 coats, then levelled and polished by hand.
Commissioned by Binh Van Hoang
The Rose II is a full-size Cross Over Classical Guitar with Dreadnaught proportions, a scale length of 645mm, 14 frets to the body and a Venetian Cutaway. This Guitar, serial No. CrossO-TBW001 was made by hand using the materials list below.
Back and Sides - Tasmanian Blackwood (Acacia melanoxylon)
One of Australia’s best-known Tonewoods, used both nationally and internationally. The curly or fiddle back forms can be visually stunning.
Soundboard - Western Red Cedar (Thuja plicata)
As a tonewood, Western Red Cedar was "discovered" relatively recently. Over the last 30 years Red Cedar has gained tremendous popularity. Initially, it was taken up by Spanish Luthiers building classical guitars, but in recent years makers have expanded production of Western steel string guitars using Red Cedar soundboards. Quarter sawn Red Cedar offers exceptional tonal quality. Although the wood is less dense and softer than Sitka Spruce it produces a crisp balance of sound.
Soundboard Bracing System - Falcate
The Falcate soundboard bracing system has been made to fit into and was assembled in a 40ft radius dish, which increases its stiffness and structural integrity. The Carbon Fiber reinforced Falcate (Sickle shaped) Bracing is made of strips of King Billy Pine, laminated into sickle shapes that are radiused to 40ft. There’s a layer of Carbon Fiber between the bracing and the soundboard. The Bracing tops were profiled, and another layer of Carbon Fiber put over the top, effectively making an “Í-Beam” like structure. This radiused and curved symmetrical bracing system is of low mass and is incredibly stiff.
Headstock (front), Body Bevel and Bindings– Black Gidgee (Acacia cambagei)
The Fretboard is bound with Black Gidgee and has 2mm Paua purflings. Gidgee is perhaps Australia's hardest wood. This is the same species as Ringed Gidgee except it is much darker, nearly black. It came from Central Western Queensland near Isisford.
Headstock (rear)– Huon Pine (Lagarostrobos franklinii)
Famous for its durability and extensively used for boat building in Tasmania.
The Birds Eye variation is quite rare and while not suitable for structural use it is highly sort after for its aesthetic appeal. It is critically endangered and no longer harvested.
Rosette – Open Composite Design
Composite design using segments of Rosewood Burl and Ringed Gidgee and Silky Oak.
Fretboard and Bridge – Jungle Blackwood (Acacia melanoxylon)
Yet another example of the enigmatic Acacia. This tree grew in the rainforest near Wujal Wujal in far north Queensland. Same species as Tasmanian Blackwood but a world apart.
Body and Fretboard Purflings– New Zealand Paua Shell (Haliotis iris or austalis)
Paua is the Mauri name for Abalone. While the name Paua is used extensively in NZ to describe any Abalone collected from NZ waters, in the Luthier world Paua usually means it’s the predominately blue abalone that comes from the south end of the South Island.
Nut and Saddle – Hand made from Northern Territory Buffalo Horn
The 6mm saddle is a firm fit into the Bridge but can be removed if needed. It has a line scribed along the soundhole face; this indicates the orientation of the saddle in the bridge. The Nut has been slotted for EJ45TT Strings. The Nut is also a firm fit; it has a small amount of CA glue holding it in place.
Fretwire – Jescar Evo-Gold
EVO Gold wire is a harder material than nickel silver though not as hard as stainless steel. It has excellent working properties and provides the player with increased fret life. The Fret ends have been individually spherically shaped and polished.
Neck - Tasmanian Blackwood (Acacia melanoxylon)
A 3-piece neck, with Black Gidgee Spine and a Volute transition between neck and headstock. The Neck is fitted with a Double Acting Steel Trussrod, accessible from the Soundhole with a 4mm Allen key. The Neck to Body Joint is a “Flat Bolt on Bolt Off” construction, having 2 x 6mm metal threaded inserts in the neck heel and 2 x 4mm bolts in Neck Extension. These bolts are accessible through the Soundhole with a 4mm Allen Key and 8mm spanner respectively.
Tuners – Custom Built by Rubner of Germany
Gold with engraved plates and Rosewood Buttons. Exceptional High-quality tuners and recognized as such around the world. Rubner was founded in 1864 by Josef Rubner, as the first machine centre in Markneukirchen, Germany. Some of the original machines are still in use today.
Strings – D’Addario Pro- Arte Nylon Core EJ46
Pickup –LR Baggs Anthem
LR Bags' patented 'Tru-Mic' technology, seamlessly combines a proprietary condenser microphone with an Element pickup to deliver the warmth and fidelity of a studio-mic’d guitar.
Finish - Hand Polished, Nitro Cellulous Lacquer
A hardwearing lacquer that is chemical resistant and easily repaired. Sprayed with 20 coats, then levelled and polished by hand.