Kris Barnett Concert Guitars

bach prelude in e major, bwv 1006a

nude, radiohead

montana_skies_-_jonathan_adams

01_verano_porteno_256

HOME

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Standard instruments come with a 3 day evaluation period (minus the $500.00 deposit and shipping costs both ways). If the instrument is not returned in its original condition the cost of repairs will be deducted. Instruments are guaranteed for life against defects in craftsmanship and materials. This warranty does not cover damage from misuse, neglect, or inclement conditions (e.g. extreme heat/cold, humidity fluctuations, etc.). The case and tuning machines are not covered by this warranty, but may be guaranteed by the manufacturer. Worn frets, nut, saddle, and normal ware are not covered by this warranty. All stipulations and limits of coverage, expressed or implied, will be decided upon solely by the maker. This warranty applies ONLY to the original owner. Customer is responsible for all shipping and handling charges related to warranty issues.

PRICING

standard instrument: $3,200.00

Price includes:

-soundboard: western redcedar or engelmann spruce

-bracing: phi lattice or double top

-back/sides: east indian rosewood

-neck: spanish cedar

-fingerboard: ebony

-finish: hybrid (french polish w/lacquer, oiled neck)

-tuning machines: rubner or equivalent

-soundport

-nut/saddle: bone

-bridge: brazilian rosewood

-body shape/plantilla: 1937 hauser

-string length: 650mm

-nut width: 52.5mm

-fingerboard width at 12th fret: 63mm

-arched/braceless back

-two-way truss rod

The purchase agreement, order form, and $500 deposit must be received to be placed on the build schedule and secure the current price. Please call for information regarding current schedule. price includes instrument, an archtop hardshell case, and shipping in the continental USA (international orders will be credited $100.00 toward total shipping cost)
LUTHIER No Frame

My goal is to build a concert instrument that is instantly recognizable aesthetically and acoustically. Each instrument is entirely handmade using the highest quality materials and never with any pre-fabricated components or computer controlled machines. The entire building process is completed single handedly with the highest of expectations for sound and playability. Each instrument carries a delicate blend of modern and traditional concepts. Because I have built so many different types of instruments, I am able to combine a variety of techniques that allow me to produce a uniquely constructed instrument that has great volume and projection while maintaining complexity, beauty, and soul. My instruments are continually evolving in my never ending quest for the ever elusive perfect sound. My design is influenced by scientific principles and is refined using experience and intuition. Science and experience are often contradictory in practice so the luthier is faced with the unique challenge of combining the known and unknown to create something inspiring. My hope is that you will appreciate my work as not only a musical instrument, but as a work of art.

Further information can be found in these interviews:

guitarbench.com

rosetteroom.com

LINKS

www.maplestreetguitars.com

www.rarewoodsandveneers.com

www.theguitarsalon.com

www.alliedlutherie.com

CONTACT

Address: 1980 Shawn Wayne Circle

Atlanta, GA 30316

(click hereto see map)

email: kristopher 10 _hotmail.com

phone: 678.779.6920

BLOG Feed
VIDEO

Guitar Support
Maple Street Interview
Tailpiece
Armrest
Soundboard
General Philosophy
Back and Side Construction
Soundport and Truss Rod

Guitar Support
Maple Street Interview
Tailpiece
Armrest
Soundboard
General Philosophy
Back and Side Construction
Soundport and Truss Rod

GALLERY I

Full Front
Soundboard
Soundboard Side
Full Back
Back
Back Angle
Headstock
Headstock
Elevated Fingerboard
Soundport
Rosette
Bridge

photography by ted patterson

GALLERY II

full front.jpg
body front angle.jpg
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body angle.jpg
full back.jpg
full back angle.jpg
body back.jpg
body back angle.jpg
soundport back.jpg
cutaway.jpg
headstock front.jpg
headstock back angle.jpg
rosette.jpg
bridge.jpg
rosette and bridge.jpg

photography by ted patterson. Scalloped cutaway available on all models

GALLERY III

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full front angle.jpg
soundboard.jpg
soundboard angle.jpg
back.jpg
back angle.jpg
back close.jpg
back close angle.jpg
neck angle.jpg
heel close.jpg
headstock front.jpg
headstock angle 2.jpg
back headstock.jpg
headstock back angle.jpg
rosette.jpg
bridge.jpg

photography by ted patterson

GALLERY IV

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soundboard.jpg
full front angle.jpg
soundboard angle.jpg
full back.jpg
back.jpg
soundport.jpg
headstock.jpg
rosette.jpg
tailpiece.jpg

photography by ted patterson. cutaway not currently available as a custom option.

GFA GALLERY

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SEE DETAILS HERE

DOUBLE TOP GALLERY

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SEE DETAILS HERE

CONCEPTS

BLANK

BACK AND SIDES The sides of my guitars are laminated with instrument-grade wood which makes them much stiffer and stronger than a solid piece of wood. Laminating the sides greatly reduces the amount of energy lost into the sides and helps the soundboard vibrate more efficiently. Though it is laminated, it is important to distinquish this from other "laminated" instruments. Most low quality laminated instruments use very poor quality wood for their laminates and use species that would not generally be used in guitar construction. Similarly, many entry-level instruments are glued with non-laminate grade adhesive which can be very soft and will actually absorb sound/vibration. I use a very strong structural adhesive that is specifically formulated for laminating. I also use solid linings (the thin piece of wood on the inside of the guitar that joins the sides with the top and back) instead of kerfed linings commonly found in other instruments to further stiffen the sides. The laminating process is much more labor intensive but well worth the effort.The back of the guitar serves to reflect sound waves emitted from the soundboard. The doming of the back aims to eliminate standing waves and increase volume, projection, and sustain. A standing wave occurs when the initial wave created by the soundboard interferes positively or negatively with the resultant wave reflected from the back. The result of a standing wave could be a dead or amplified note, depending on how the waves interact. I aim to have a very rigid back that will reflect energy efficiently and a pronounced arch to reduce the interference of initial and resultant waves. The back is laminated and there are no internal braces to interfere with the sound. The result is a much more immediate sound that responds easily to the player's attack.
No Frame

ELEVATED FINGERBOARD

The elevated fingerboard is a very popular and useful option. Its primary purpose is to allow easier access to the upper frets. The necks are entirely bolt-on, even the tongue is secured using very strong threaded inserts. This makes neck removal very fast and easy (if needed) and also allows for a very tight fit with the body which is good for tone and sustain. The geometry of the strings and saddle remain the same (i.e. the neck angle does not change) so this configuration does not have an adverse effect on the overall tone of the instrument. I am able to maintain the same string/saddle geometry by sloping the upper bout of the guitar instead of increasing the angle of the neck. The elevation is approximately 11mm at the highest point and slopes to approximately 3mm. This configuration also includes a two-way truss rod.

TRUSS ROD

All of my necks are reinforced with a double-action truss rod. The truss rod is used to stiffen the neck and can be adjusted to get the correct amount of relief in the neck. I find that relief in the neck is very important for playability. The slight curve mimics the motion of the vibrating string so that the action can be lower without buzzing. When the truss rod is tightened it stiffens the neck significantly which improves sustain and the overall tone of the instrument. If the neck ever warps due to humidity or climate change it can often be fixed using the truss rod. I have seen far too many repairs escalate from $30 (adjusting the truss rod) to over $300 (pulling the frets and straightening the neck) because the guitar did not have a truss rod. The additional weight in the neck is negligible and really helps to physically balance the instrument since the body of my guitars are somewhat heavier than most traditional instruments. More classical builders are starting to use them and for good reason.

I use tung oil as the finish for the neck. I find that many players really enjoy this type of finish because it is very consistent and natural feeling. Some finishes will get sticky when the player's hands begin to perspire making it very difficult to maneuver. The neck can be very smooth if more tung oil is added. The oil is very easy to apply and can be added as needed by the player to achieve the perfect feel. Lacquer can also be used as the finish upon request.

SOUNDBOARD I am currently building two different types of instruments, a lattice-style instrument and a newly designed double top. The lattice guitars are not simply replicas of Smallman-type instruments, but have evolved over many hours of experimentation and testing. It is an assymetrical lattice that is based on the proportion Phi. All of the strut lengths, heights, and spacing are derived from the "golden ratio". See this site for more information about this fascinating concept. The thickness of the soundboards on these instruments typically fall between a traditional instrument and those of the so-called Australian school. I use an all wood lattice and do not use any composite materials. These instruments are very lively, responsive, even, and have great tonal color. The double top instruments are quite a bit different than the type initially built by Mathias Dammann. I only use two layers of wood instead of three and I do not use any synthetic material between them. The outside skin is about 1.5 mm thick and has a grid pattern routed halfway through it. The second layer is about .6mm and is glued to the outside skin using a very strong laminating adhesive. The purpose of the grid is to reduce the overall weight of the soundboard while the laminating process adds strength to the finished soundboard. The soundboards are then braced using a Romanillos style pattern. These instruments have a very smooth and round tone while maintaining focus, volume, and sustain.

SOUNDPORTS

Soundports are very effective for increasing the dynamic range of the instrument for the player. Lower frequencies tend to travel more efficiently through air than higher frequencies. Without a soundport the player will naturally hear a bass-heavy version of what is actually being played. The soundport aims the sound directly at the player's ear so they can better hear the higher frequencies and have a better idea of what the audience is hearing. I have not built an instrument without a soundport in several years. Some say that soundports actually increase the volume of the instrument both for the player and audience. I am not certain of this. It may be a perceptual increase in volume as an increase in the dynamic range could be mistaken for a louder guitar. The size of the soundport will affect the overall tone of the guitar. The larger the opening the higher the frequency.

ARMREST The armrest is a relatively new concept and is very beneficial for several reasons. The first benefit is that it removes the player's arm from the soundboard which allows it to vibrate without inhibition. The armrest makes a substantial difference on my instruments due to the thinner soundboard. The second benefit is that it protects the finish on the soundboard (especially musicians who prefer a French polished soundboard) from acid and contaminants from the players arm. The third benefit is that it is more comfortable for the player as it has a more rounded profile than the binding of the guitar. This is especially important for professional musicians and students who spend many hours practicing daily. The armrest is made from the same wood as the back and sides and adds an elegant touch to the finished instrument. The armrest is attached using very strong rare earth magnets and is easily removable for placement in a case or using the armrest on another instrument. See instructions here. See photos here. An outline of the standard armrest can be viewed and printed below.

Hauser Plantilla.pdf

ARMREST PHOTOS No Frame

TAILPIECE The tailpiece makes a lot of sense from an acoustic standpoint. I came up with the idea after considering other stringed instruments and how much volume they produce despite being very small in size (e.g. violin, mandolin, viola, etc.). The bridge on a traditional guitar is very important for sound because it is what transmits the vibration of the string to the soundboard. The bridge is constantly being pulled up and away from the soundboard because of string tension. This is a counterproductive force since it would be ideal to have only downward force on the bridge. The tailpiece allows this counterproductive force to be eliminated almost entirely since the strings are now pulling on an inert object which is attached to the end joint of the instrument. The tailpiece hovers above the soundboard and does not add any mass to the soundboard itself. The second important benefit of the tailpiece is that the weight/size of the bridge can be decreased by approximately 50%. Since there is very little string pull on the bridge it does not need to have the gluing surface as a traditional instrument, thus reducing its weight. It is important to note that the geometry of the strings and bridge is the same, meaning that the ever-important break angle (where the strings leave the saddle and go into the tie block) is maintained. The break is important because it puts downward force on the bridge and is one reason that a classical guitar sounds like a classical guitar. The tailpiece configuration can be used with normal strings (I have not found any strings that are not long enough) and they are tied the same way as a traditional bridge.
No Frame

FINISH

The finish on a handmade instrument is extremely important. It must protect the instrument from damage and inclement conditions, but it must also allow the guitar to vibrate freely. I have found that the actual finish used (e.g. shellac, urethane, lacquer) is not as important as keeping the finish very thin. French polishing with shellac is the traditional finish for a fine classical guitar. This finish is enticing acoustically as it is applied very thin and it is a very flexible finish. The problem is that it does little to protect the instrument from damage. Most guitars finished with shellac will need to be refinished at some point because the player's arm will eventually wear through the finish on the lowerbout. Shellac will do little to protect the instrument from any unforeseen accidents.

I use a hybrid finishing method on my instruments. I use a base coat of shellac, French polished in the traditional style. It is a beautiful finish and it makes an excellent surface on which other finishes can be applied. After a thin coat of shellac has been applied I add 2 to 3 very thin coats of satin lacquer. Lacquer is very durable and bonds extremely well with shellac. After the lacquer has been applied the sheen is knocked down with a very fine steel wool. I find this finish to have a very organic appearance and suites a handmade instrument very well. This finish will never need to be reapplied or repaired if proper care is taken. This is my preference for finishing although other finishes can be applied if desired.

DISTRESSED The distressed guitar is by far my favorite. It is a very difficult and time consuming process, but the results are very rewarding. I try to make the guitar as authentic as possible, making it appear aged and not simply abused. The tuning machines undergo an aging technique that will make new machines appear very old without harming any of the mechanical components. The guitar is entirely french polished to get an authentic look/feel to the instrument. The playability of these instruments is the same as my other models because I do not distress the frets or do anything that would sacrifice tone or playability. The guitar is meant to look approximately 100 years old and is aged similarly to existing guitars this age, right down to the faux cracks on the soundboard. The instrument can be distressed to the customer's desire.
No Frame

INTONATION

Intonation has always been an issue for fretted instruments. Most builders will use some type of intonation at the saddle, but do nothing about the nut. Greg Byers has a very good article about intonation and how to solve (as much as possible) the age old problem of guitars playing out of tune. I use very similar measurements as indicated in his article. Read his article here .

PHI

DOUBLE TOP No Frame

This is the thicker skin after it has been routed. A thinner layer will be glued to this piece then braced as a traditional instrument.

The finished soundboard looks just like a traditional fan braced instrument.

SOUNDBOARD

BACK/SIDES

FINGERBOARD

TRUSS ROD

SOUNDPORTS

ARMREST

TAILPIECE

FINISH

DISTRESSED

INTONATION

AUDIO

Montana Skies-Jonathan Adams
Prelude in E Major, Bach
Nude-Radiohead
Xodo da Baiana-Dilermando Reis

-"Montana Skies"

performed and written by Jonathan Adams

-"Prelude" and "Xodo"

performed by Ric Larsen

-"Nude"

performed by Ric Larsen (guitar)

and Lisa Cunningham (oboe)

OPTIONS

elevated fingerboard (read more) -------------------------------------------------no additional cost

soundport -----------------------------------------------------------------------------no additional cost

20th fret -------------------------------------------------------------------------------no additional cost

640mm/660mm scale --------------------------------------------------------------no additional cost

hybrid finish (french polish w/lacquer) -----------------------------------------no additional cost

fret markers, 1mm metal ----------------------------------------------------------no additional cost

tuning machine upgrade (many other options available)-------------------------please inquire

case upgrade (many other options available) --------------------------------------please inquire

various aesthetic designs (rosette, bindings, inlays, etc.) -------------------------please inquire

adjustable soundport cover --------------------------------------------------------------$100

distressed finish (read more) ------------------------------------------------------------$100

removable armrest (read more) ----------------------------------------------------------$100

french polish soundboard-----------------------------------------------------------------$100

maple back and sides ----------------------------------------------------------------------$100

european spruce soundboard ---------------------------------------------------------- $200

brazilian rosewood back/sides ----------------------------------------------------------$250

tailpiece (read more)-----------------------------------------------------------------------$250

elevated fingerboard (read more) -------------------------------------------------------$250

french polish entire guitar (read more) ------------------------------------------------$ 250

MAP
FEEDBACK

Please feel free to leave any feedback about the site, your experiences with my instruments, or anything else you feel may be of value to myself or others. Thanks!

FORMS

These are the online forms used to order an instrument.

ORDER FORM

PURCHASE AGREEMENT

ORDER FORM
PURCHASE AGREEMENT
ARMREST INST 1. Remove the magnets from the armrest and note the polarity of each magnet (which side of the magnet attracts to the armrest). The magnets are extremely strong so keep them away from any metal objects, film, cell phones, etc. The magnets will want to attract each other so be careful and avoid bodily injury. 2. Place the armrest on the lower bout of the instrument. Adjust the armrest so it aligns with the curve of the lower bout (fig. 1).3. Ensure that the small wooden spacers are pressed against the soundboard of the instrument (fig. 2). When the armrest is aligned properly secure it in position with low-tack masking tape (fig. 3).4. Remove the putty and kneed it until warm. Attach the putty to the attracting side of the rear magnet (fig. 4) and attach the magnet to a string using double stick tape as shown (fig. 5). Measure the distance from the soundhole/soundport to the rear magnet and mark this on the string (fig. 6). Do the same for the front magnet. 5. Hold the instrument with the neck straight up and lower the string with the magnet attached into the soundhole until the mark on the string indicates proper positioning (fig. 7). SLOWLY lean the guitar to the side until the magnetsattract one another (fig. 8).6. Repeat previous steps for front magnet. After the magnet is installed it is important to press them into the putty using your fingers or a short dowel. This will help the internal magnets stay seated.7.Remove masking tape from armrest. The armrest can now be attached and removed freely (fig. 9). It is recommended that the armrest be removed when being placed in the case.

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DOUBLE TOP DESC

2011 CEDAR DOUBLE TOP (SOLD)

$2900.00

This guitar is very lively and fun to play. It has ample volume, very good separation, excellent sustain, and a very rich, soulful tone. It is responsive to the slightest touch and has plenty of headroom that makes it difficult to over play. The neck is comfortable and the playability is excellent. The guitar was somewhat experimental in nature as I have never made this style of double top before, but the results were fantastic. The craftsmanship is excellent and it is in every way a concert level instrument. I very rarely have instruments that are available for immediate sale and there is a 2 year waiting list for custom instruments. Please do not hesitate to contact me with any questions regarding this instrument. The price includes a hardshell case. Please see my blog for larger images.

Soundboard - Master Grade Cedar (inside/outside layers)

Back/Sides - Solid Indian Rosewood Back (sides have one laminate of Brazilian rosewood)

Neck - Spanish Cedar

Fingerboard - African Ebony

Binding - Ebony

Tuning Machines - Rubner

Nut/Saddle - Bone (both compensated)

Finish -Hybrid (frensh polish w/satin lacquer)

Bridge - Brazilian (w/12 hole tie block)

Truss Rod - Yes

Soundport - Yes

Elevated Fingerboard - Yes

20th Fret - Yes

Removable Armrest - Available

Scale - 650

Nut - 52

String Spacing - Nut =43, Saddle = 58

Neck Thickness - 1st =21, 9th =22

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LUTHIER

CONCEPTS

Page 3

GALLERY IV

GALLERY III

GALLERY II

GALLERY I

Page 4 Page 5 Page 6

FORMS

WARRANTY

OPTIONS

PRICING

Page 7

BLOG

LINKS

FEEDBACK

EMAIL/PHONE

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