A bit of background…

I have spent most of my life programming computers. It’s a fascinating way to spend your time if you like that sort of thing, and I did, but I didn’t want to spend my whole life talking to machines, which are, and (I hope) will remain, utterly soulless.

So I eventually hit on the idea of building classical guitars.

I was very fortunate in finding an excellent teacher, in the person of Roy Courtnall, and built my first guitar under his patient supervision. The result (pictured above) exceeded my expectations both in terms of sound and appearance. It has, if I’m completely honest, a few very minor cosmetic flaws (but it is my first guitar!), but the sound is superb. It’s not for sale!

My next guitar is spoken for so it will be some time before I do have one for sale. It definitely won’t be before March 2019.

All my guitars will be built to my own specification (below). The reason for this is quite simple. Guitar building is not an exact science; even the best luthiers in the world cannot guarantee to build a guitar that any given customer will like. The sensible thing then is to build the best instruments one can, and let potential customers try them.

It’s a very personal thing—like buying a dog!

So that’s my policy. If you think you may be interested in having an Opus One guitar you’re very welcome to get in touch (ku.sratiug-eno-supo@nworb.divad) and I can let you know when I expect to have one for you to try.

David Brown

Last updated 25 February 2019


Sound-board  Alpine Spruce

Ribs (sides) and back  Indian Rosewood

Fingerboard  Rocklite Ebano®, a stable, dense and sustainable ebony alternative

Neck and head  Cedrela

Machine heads by Rubner

Scale length  650 mm

Bracing type  Hauser-style fan bracing

Finish  French polish

Extras included

Hard case by Hiscox
Spare set of tie-block beads by Rosette®
D’Addario Humidipak

Opus One guitars are individually hand-built in Horncastle, Lincolnshire, UK. This specification may be changed from time to time and is for guidance only.

Useful Information

Tie Blocks

Traditional bridge design has an inherent flaw—the strings have to be tied on. As a result after they leave the hole in bridge they are pulled upward before they reach the saddle, and this considerably reduces the ‘break angle’ over the saddle, which in turn has a deleterious affect on the sound. A neat and …


When it comes to choice of wood to use in classical guitar construction there are two main schools of thought (three if you include flamenco guitars—perhaps I’ll do a separate post on that later). They both mandate the use of spruce or cedar for the soundboard, but apart from that they are almost opposites. Surprisingly …