style three four website

A style two Burgin weiss is now at the Music Emporium in Boston. the same as we made for David Lindley with added rope binding etc.  (Sept 2015)  

Meanwhile……recently sold but I’ve left the information here. This is a Burgin Guitars Style Three weissenborn made from flamed Tamanian Blackwood (a cousin of Koa). It has shop made jarrah and maple rope binding, and rosewood fretboard with abalone diamonds.

(inlay from shells gathered on the local sea shore)



style three two website

The rosette is also rope binding. The fretboard markers are maple strips. The blackwood is salvaged from stumps and fallen trees in old Tasmanian forest.

This instrument is typical of many that we make at Burgin Guitars.




style three six website

The headstock is also bound with rope, and it bears the Burgin Guitars logo in abalone. Machine heads by Gotoh.

I can also install pick ups and would recommend the K and K or Seymour Duncan mag mic.




style three three website

The finish on the Style Three is satin laquer. Nut and saddle are bone. The instrument comes in a hard case and the price includes, packing and shipping to your door, anywhere in the world.

Price: US $3380

I am happy to answer questions about this instrument.







Below is a Golden Bay Blackwood Style Two weissenborn that sold a while back. I’ve left it here as there is a series of photos that show that show how this particular instrument was built.

golden b finish 4

The whole guitar is bound in jarrah and maple rope binding. The bridge is rosewood and the nut and saddle are beef bone.



golden b finish 2The inlay is in pearl and the headstock holds dark Gotoh tuners.





Below is a timeline of the instrument’s construction. It starts with the roughed out top and back, an inlaid rope rosette and a bound headstock. The wood came from Onekaka Woods in Golden Bay, New Zealand. the plantation tree was about thirty five years old. It’s one of many planted by Onekaka woods specifically for furniture making.




Once the top is braced the sides are prepared in the side bender.



The sides are held onto the top with tiny triangular pieces of wood called tentelones. Next the sides are cut down to the proper depth and linings glued on.



The braces are glued on using the go bar deck. Thin sticks of flexible ash wood apply pressure while the glue dries.

golden bay blackwood two






Once the glue is dry the back braces need to be shaved and shaped with a block plane and chisels.




Once the braces are shaved and sanded the back can be glued on using clamps and ropes.





Then the guitar can take a rest while bridges, fretboard and binding is sorted out.







Next stop is the rope binding and the fretboard. The rope binding is made from maple and jarrah and laminated sheets of these two timbers are cut into thin slabs and then run through a small saw.


The fretboards for weissenborns don’t need fretwire, just thin strips of maple glued into the slots. They will also have pearl or abalone dots in the regular places.



The rope binding is bent a bit at a time and fitted into place around the perimeter of the guitar.




Then the binding is glued into place and roped down for an hour or so. Once the glue is dried the binding and guitar side can be scraped down before sanding and adding the bound fretboard and bridge.

The binding is scraped down flush with the guitar top and sides.

golden bay nine






The fretboard is made of flamed blackwood and is glued in place with clamps and a caul.

golden bay eleven






After more sanding the guitar is coated with shellac and grainfiller. This can take a while to dry off properly before laquering commences.

golden bay twelve








Laquering is complete and the true beauty of the blackwood is revealed as seen below. The bridge is in rosewood and the saddle is bone. golden bay finish 1






The finishing process brings out the contrast of colours in the rope binding.

golden bay finish 2







the headstock is also bound with rope binding and purfling, and the nut and saddle are made of beef bone. The nut needs to be high to protect the fretboard from enthusiastic use of the steel bar.

golden bay finish 3







Next stop ….STRINGS!



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