Jim Redgate Guitars

Rodgers tuners... special order

Frequently asked Questions

Following is a list of questions I am most commonly asked. If there are any specific questions that are not covered that you would like to ask or you want to enquire about ordering a Redgate guitar you can email Chris Kamen at Classic Guitars International.

What is the difference in sound from your guitar to traditional guitars?

The sound board of my guitars is much lighter than a traditional guitar so it is more responsive and energy efficient and therefore much louder. My guitars have excellent balance and sustain as well as increased volume. They are recognised for maintaining a traditional tone with great balance and sustain.

According to durability through the years is there any difference from your guitar to a traditional?

I would say they are more durable. The tops are well supported with carbon fibre which does not distort and weaken over time One of the benefits of using carbon fibre is that the soundboard can be made to flex to increase response without danger of giving out like wood braces will. They are also less likely to be affected by adverse humidity conditions than traditionally braced soundboards.

What kind of options there are in the guitar, and which is the price of each, please explain each option and its difference in sound?

I use only the best materials available and I can offer to pick out wood with certain colour or tone characteristics you may want. I only make concert guitars and do not have any cheaper models. My guitars are built of Brazilian rosewood for the back and sides. If I were to build you a guitar I would ask that you describe the sort of qualities you would like in your guitar, your playing ability, and preferred strings and set-up. This enables me to build you a guitar which will suit your requirements as much as possible. If you want unusual customizations I may charge extra. Small modifications usually are free of charge.

What is a good percentage of humidity for yours guitars? Could extremes of humidity cause a problem?

I build humidity controlled so the guitars are very reliable. I usually build at 55% though if it is going somewhere that has a humidity extreme I may change this slightly. I have sent guitars to destinations with such humidity extremes as Singapore, Bangkok, Philippines, Texas, Central Australia. High humidity is better than low but my guitars are quite stable. Cedar is a lot less reactive than Spruce too.

Do you believe that an older aged top is acoustically superior? I suppose they are more stable.

With Spruce it makes a big difference because it is a sappy wood and the resin needs to crystallise. With Cedar it is not so important as long as the wood is dry and stabilised.

What is your philosophy regarding air dried and kiln dried timbers?

I prefer air dried...baking wood in a kiln dries it but does not age it. I expose my soundboards to the strong Australian sun for several weeks to fully dry and harden the natural resins and prior to using them.

How do you deal with wolf tones and perhaps related, tune your tops?

I tune components to pitches which lie between the notes when the instrument is at concert pitch and aim to have the frequencies of the main modes of vibration (strong notes on the guitar) in between fretted notes on the finished instrument. Of course it is very difficult to achieve but my instruments are widely recognised as having excellent balance and evenness. There will always be a variation in tone and volume between notes but my aim is to minimise this by hiding them at frequencies which are not played on the instrument. I "tune" the guitar by removing wood from places on the top, adjusting the bracing and the size of the sound-hole. With a particularly difficult note which I cannot improve with other means I sometimes glue weighted blocks under the sound board to modify the vibrational characteristics of the top. My guitars are designed with a low fundamental frequency which interacts much less with the notes in the range of the guitar.

What are the choices for the machine heads?(tuners)

My standard are Fustero or Schaller H-G1. I am happy to fit any alternative at cost. As tuners are difficult to buy in Australia, a good alternative is for the customer to send me the tuners of choice and I will deduct the cost of the Schallers for the price.

Can you see the truss rod? I saw one of your guitars recently, and there was no truss rod that I could see.

The truss rod is accessed through the sound hole with a 3/16 allen key. The only way you could see it is with a mirror. Some of my older guitars do not have a truss rod. I started using them around 1998.

What type of finish do you use?

I normally use a catalysed nitro cellulose lacquer which is tough and durable but can be applied very thin so as not to dampen the tone. It behaves very similar to French polish tonally. I cut and polish the back sides and neck to full gloss and I like to do the sound board in satin low sheen. I can use less finish on the top this way which is better for tone, and it looks very elegant. I can also French polish on request.

How much stock of the tonewood do you have?

A lot. I am particular about the cedar I use so I have to go through many sets to pick the ones I want to use. Currently my tonewood is sourced from British Columbia where my contact picks through hundreds of sets to source the lightest most resonant sets for me. I only buy this absolute best master grade.

Why do you use a Truss rod? This is not normal for a Classical guitar.

The essence of my use of a truss rod is to pre-load the neck. Pre-loading the neck makes it very stable and allows for a perfect setup. My experience has led me to believe that the high frequency absorption of string energy through the fret board of a guitar has a marked effect on the tone. A pre-loaded neck is stiffer and absorbs less string energy which helps the overall volume and tone of the guitar.

How many guitars do you make in one year?

About 15. All my guitars are totally hand built by me.

What are your standard neck dimensions?

My neck thickness at the 1st fret is 21 mm and 23mm at the 9th. The width is 52mm at the nut and 62mm at the 12th fret. I have a nice slim heel for easy access to the upper positions. My necks are very slim and I always get compliments on the perfect set-up and ease of playing. Because I incorporate a truss rod in my neck I am able to set the neck relief perfectly and the neck can always be adjusted in the future should the need arise.

How are your guitars setup?

I fit high tension D'Addario Pro Art'e composite strings and set up is standard professional - 4mm bass and 3mm treble from underside of the E strings to the top of the 12th fret.

What sort of cases do you use?

The best case I can source in Australia is made by Hiscox. They are very strong, lightweight and well finished. They are black with a red plush interior.

Which company do you use for the freight?

I now sell exclusively through Chris Kamen at Classic Guitars International. His details are on my Ordering Page. As is the case with any recognised builder there will be a waiting list which varies in length. When you order he can advise the projected waiting period.

Frequently asked Questions Following is a list of questions I am most commonly asked. If there are any specific questions that are not covered that you would like to ask or you want to enquire about ordering a Redgate guitar you can email Chris Kamen at Classic Guitars International. What is the difference in sound from your guitar to traditional guitars? The sound board of my guitars is much lighter than a traditional guitar so it is more responsive and energy efficient and therefore much louder. My guitars have excellent balance and sustain as well as increased volume. They are recognised for maintaining a traditional tone with great balance and sustain. According to durability through the years is there any difference from your guitar to a traditional? I would say they are more durable. The tops are well supported with carbon fibre which does not distort and weaken over time One of the benefits of using carbon fibre is that the soundboard can be made to flex to increase response without danger of giving out like wood braces will. They are also less likely to be affected by adverse humidity conditions than traditionally braced soundboards. What kind of options there are in the guitar, and which is the price of each, please explain each option and its difference in sound? I use only the best materials available and I can offer to pick out wood with certain colour or tone characteristics you may want. I only make concert guitars and do not have any cheaper models. My guitars are built of Brazilian rosewood for the back and sides. If I were to build you a guitar I would ask that you describe the sort of qualities you would like in your guitar, your playing ability, and preferred strings and set-up. This enables me to build you a guitar which will suit your requirements as much as possible. If you want unusual customizations I may charge extra. Small modifications usually are free of charge. What is a good percentage of humidity for yours guitars? Could extremes of humidity cause a problem? I build humidity controlled so the guitars are very reliable. I usually build at 55% though if it is going somewhere that has a humidity extreme I may change this slightly. I have sent guitars to destinations with such humidity extremes as Singapore, Bangkok, Philippines, Texas, Central Australia. High humidity is better than low but my guitars are quite stable. Cedar is a lot less reactive than Spruce too. Do you believe that an older aged top is acoustically superior? I suppose they are more stable. With Spruce it makes a big difference because it is a sappy wood and the resin needs to crystallise. With Cedar it is not so important as long as the wood is dry and stabilised. What is your philosophy regarding air dried and kiln dried timbers? I prefer air dried...baking wood in a kiln dries it but does not age it. I expose my soundboards to the strong Australian sun for several weeks to fully dry and harden the natural resins and prior to using them. How do you deal with wolf tones and perhaps related, tune your tops? I tune components to pitches which lie between the notes when the instrument is at concert pitch and aim to have the frequencies of the main modes of vibration (strong notes on the guitar) in between fretted notes on the finished instrument. Of course it is very difficult to achieve but my instruments are widely recognised as having excellent balance and evenness. There will always be a variation in tone and volume between notes but my aim is to minimise this by hiding them at frequencies which are not played on the instrument. I "tune" the guitar by removing wood from places on the top, adjusting the bracing and the size of the sound-hole. With a particularly difficult note which I cannot improve with other means I sometimes glue weighted blocks under the sound board to modify the vibrational characteristics of the top. My guitars are designed with a low fundamental frequency which interacts much less with the notes in the range of the guitar. What are the choices for the machine heads?(tuners) My standard are Fustero or Schaller H-G1. I am happy to fit any alternative at cost. As tuners are difficult to buy in Australia, a good alternative is for the customer to send me the tuners of choice and I will deduct the cost of the Schallers for the price. Can you see the truss rod? I saw one of your guitars recently, and there was no truss rod that I could see. The truss rod is accessed through the sound hole with a 3/16 allen key. The only way you could see it is with a mirror. Some of my older guitars do not have a truss rod. I started using them around 1998. What type of finish do you use? I normally use a catalysed nitro cellulose lacquer which is tough and durable but can be applied very thin so as not to dampen the tone. It behaves very similar to French polish tonally. I cut and polish the back sides and neck to full gloss and I like to do the sound board in satin low sheen. I can use less finish on the top this way which is better for tone, and it looks very elegant. I can also French polish on request. How much stock of the tonewood do you have? A lot. I am particular about the cedar I use so I have to go through many sets to pick the ones I want to use. Currently my tonewood is sourced from British Columbia where my contact picks through hundreds of sets to source the lightest most resonant sets for me. I only buy this absolute best master grade. Why do you use a Truss rod? This is not normal for a Classical guitar. The essence of my use of a truss rod is to pre-load the neck. Pre-loading the neck makes it very stable and allows for a perfect setup. My experience has led me to believe that the high frequency absorption of string energy through the fret board of a guitar has a marked effect on the tone. A pre-loaded neck is stiffer and absorbs less string energy which helps the overall volume and tone of the guitar. How many guitars do you make in one year? About 15. All my guitars are totally hand built by me. What are your standard neck dimensions? My neck thickness at the 1st fret is 21 mm and 23mm at the 9th. The width is 52mm at the nut and 62mm at the 12th fret. I have a nice slim heel for easy access to the upper positions. My necks are very slim and I always get compliments on the perfect set-up and ease of playing. Because I incorporate a truss rod in my neck I am able to set the neck relief perfectly and the neck can always be adjusted in the future should the need arise. How are your guitars setup? I fit high tension D'Addario Pro Art'e composite strings and set up is standard professional - 4mm bass and 3mm treble from underside of the E strings to the top of the 12th fret. What sort of cases do you use? The best case I can source in Australia is made by Hiscox. They are very strong, lightweight and well finished. They are black with a red plush interior. Which company do you use for the freight? I now sell exclusively through Chris Kamen at Classic Guitars International. His details are on my Ordering Page. As is the case with any recognised builder there will be a waiting list which varies in length. When you order he can advise the projected waiting period.

Jim Redgate uses Pro Arté Strings