My Classical Guitar - Australian King William Pine

It was time to upgrade my guitar and after a visit with overseas family to Montsalvat, where we met Chris and saw some students having fun building their own instruments, the decision was made instantly.

That was going to be my next project.

I had to wait until Chris came back from his annual pilgrimage to Italy and used my time to study his website and followed a number of links to familiarize myself with the idea of building a guitar and the possible timber combinations.

On the first day Chris and I talked about guitars and timbers and really all combinations are interesting. I wanted to make a classical guitar with the best sound possible for an amateur made product.


We settled initially on blackwood sides and back, Queensland maple neck with Mulga fingerbord and Bunya pine soundbord.

After our sixth working day and had just glued the top on, it became obvious that I had done something not quite right and the result could not be altered easy.
The top was not glued on properly !

That’s where my appreciation of Chris’ ideas took really shape. I was allowed to start all over again . Chris donated the timbers and I had to spend some more days at Montsalvat, which is not at all a punishment. I loved the atmosphere there.

I also developed a taste for Tim Tam Biscuits - Chris's Favourite.

This time we went for King Billy Pine in lieu of Bunya pine for the soundboard. Chris really felt sorry for me and found somewhere a priceless piece of King Billy.
Making all the parts again showed me that experience comes with repetition and the result felt a lot better straight away.

The end result was a remarkably sweet sounding guitar with heaps of sustain. Playing the guitar at home I found one spot where some light buzzing took place and because I made this instrument myself and understand now how it all works, I decided to remake another bridge piece, slightly higher on one side only and the buzzing was gone. In the mean time I changed the strings to high-tension strings, which improved the harmony and nice clear brassy high tones.

It is amazing how different this guitar sounds in comparison with my original quality high mid range guitar.
Needless to say that I am looking forward everyday studying music and I honestly have not touched my old guitar as yet.

I have photos of the building process,  King William Pine Acoustic Guitar via this link.


Student 2009 - Ted van Vugt

Luthiers Course - My East Indian Rosewood, Classical Guitar

My Experience at the Thomas Lloyd School of Guitar Making.
A Testimonial by Will Hancock.

"When I saw the ad in the paper, it spoke directly to me!"

When I took the mission out there for a chat with Chris it was sealed. But when I chose to embark on the Thomas Lloyd Guitars Luthiers Course the times they were a changing and the fun was about to begin. Tim Tams and tea were the flavour and a pile of book-matched deep, chocolately, rich, dark East Indian Rosewood was placed on the bench.

We were off and running. With the back on the mould Chris showed how to join the neck and heel blocks to the freshly bent sides. Then, to work on the back. Braces were shaped at a frustratingly slow pace as I began to learn the Thomas Lloyd way.

Patience was the lesson of the day and one that I would come to know fatefully well in the weeks to come. After fitting the braces we fitted the back to the sides. Lo and behold, it was beginning to look like a guitar! Now for the soundboard and the precise hole cutting, followed by a rather tumultuous fitting of a badly warped rosette. A rosette that Chris chose deliberately to get the most out of the lesson. Braces were carved with the chisel and as the curls of supple timber peeled away from the chiselhead, I realised that a life long love had been remembered deep within.

We fitted the top to the back and the soundbox was nearly done. Finally, after months of agonising wait the neck was started and a billet of smooth, crimson buttery Mahogany was my lump of clay. Handsawing the headpiece joint at the precise angle was a milestone and Mr. Wynne ensured it all ran well.

After finishing the neck blank, my first taste of Macassar Ebony showed itself and I took on another expensive addiction. I thought records could chew up your paycheck quickly but this stuff was gold. Swirls of light, milky, chocolate brown swam in a sea of dark ebony and the contrasting textures are amazing.

The custom made fretcutter made a tricky job easily accurate and into the dovetail, another milestone on the road to string instrument heaven. Clicked the neck into the body and she was beginning to look like a sexy guitar. Set the neck and fretboard, carved the from the smoothest, creamy mahogany and then tackled the cap, made from the same black ebony as the ‘butterfly bridge’. A tricky job but the assistance of Chris gave many hands light work and after weeks of worry, she was a setup job away from deflowering.

Setting her up, I reflected on the journey. From the newspaper ad to now. Not a journey, an evolution of consciousness and understanding at a cellular level. Strumming her for the first time was like watching a homebirth. Breathing life into something that was once innate. She cried a little, whimpered and has been singing sweetly since as her voice becomes more of its own.

And so began my Australian Tonewood habit. Now instead of going down to the pub, I’ll go to the hardware. Instead of record shopping its making a mess on the coffee table. And if I can pull myself together long enough to get the sawdust out of my eyes it’s a trip out to Eltham to catch up with Chris and enjoy a Tim Tam, a quiet chat at T.L.G.

Theres a fretless bass on the shelf and a trip to Italy awaiting.

Thanks mate, you rock.

Will Hancock - Student 2007

Female Luthiers At Thomas Lloyd Guitars

Timber, Band Saws, Chisels, Power Tools & Glue!

Lots of Chocolate, Lots of Patience, Tea Breaks, In-depth discussions & Long lunches!

 Women that have gone on to make beautiful Australian Acoustic Guitars!