When they hear the name John Williams most classical guitarists also think of two giants of guitar luthiery, Ignacio Fleta and Greg Smallman. For the past twenty-five years John Williams has been the champion of the neo-classical instruments known as "lattice guitars" by Greg Smallman. For years I have wanted to build a guitar in this style. What prompted me was a guitar built by a friend's daughter. Her very first guitar was a lattice-style guitar. There was something about that guitar that prompted me to ask her if I could play it whenever she had it with her. So I decided to build one.

Several years ago while working on my masters degree, I did some in-depth research on the guitars of the Hermann Hauser family. I took the same approach towards study of the guitars of Greg Smallman. I gathered many photos and articles and contacted as many guitarists as I could find who owned Smallman guitars, to question them about their instruments. Finally, I purchased one so I could compare my work with Smallman's.

My first lattice guitar was an experiment using cedar and a seven by seven lattice. The back and sides were laminated with epoxy and veneers. The back is laminated in a mold forming an arched back shape similar to a cello. The back is very strong and requires no back braces.

This first lattice guitar turned out very well. A second guitar was also built at the same time. These two guitars were tested in a large concert hall at California State University in Fresno. Dr. Corey Whitehead and I took turns playing the guitars for each other. The projection was incredible. The faintest harmonic could be heard in the back of the hall with a clarity I had never heard in any other style of guitar.

Projection is just one advantage of this design. Sonority and playability are other characteristics. Too often, guitarists associate volume with this style of the guitar and they overlook other qualities that are present. The sonority of the lattice guitar is most effective in large halls. In small rooms they do not seem as impressive.

The lattice provides a stiff but pliable support under the soundboard. Carbon fiber is used on the top and bottom of the balsa lattice. The ratio of balsa, carbon fiber, density, weight, thickness and strength of the lattice soundboard have a lot to do with the success of the design and affect the sonority and projection. The only parts that I weigh are the lattice and the soundboard; that weigh-in is done with a triple-beam gram scale.

Not all lattice guitars are the same. The system that I use is based on my interpretation of Greg Smallman's brilliant design. As I mentioned, the body is made of laminated veneers. The sides consist of five layers. The outer veneer that I use is 0.024" kingwood, Brazilian rosewood or cocobolo. Then there are three layers of 0.024" thick maple or pine veneer. The inner veneer is either mahogany, oriental wood, or Australian jarrah. These veneers are wetted with epoxy and clamped in a mold. The results are sides that are very stiff and strong.

The back is built in a similar fashion except I add a 0.070" core of western red cedar in the middle. The back is nearly a quarter of an inch in thickness! The layers of veneer are epoxied together and clamped in a vacuum press instead of a two-part mold.

The other component is what I call the "chassis". The chassis is made up of two layers of ¾" Baltic birch marine grade plywood. The double layer in the upper bout accommodates an adjustable neck joint that allows the guitarist to adjust the action of the guitar with a 1/8" Allen wrench; this device negates the need to have a new saddle built to produce a different action. The upper bout is solid, but the lower bout is cut out and also has what I call the "A" frame for reinforcing the rim of the lower bout. All of this stiffening keeps all the string energy in the soundboard.

The rest of the guitar absorbs very little of the string energy; in fact, an armrest is also added to prevent the arm from damping the sensitive soundboard.

The bridge is also much smaller and lighter, about 6 ¼" compared to a traditional length of 7 ¼". I use padauk because it is light, stiff and resonant.

You might be asking yourself, "What is a Neo-Classical Guitar?" I use this term to describe a guitar that has been modified and incorporates new or recent technology or innovations, all applied to the classical guitar. I view the Neo-Classical guitar as a complete system, not only emphasizing the lattice bracing but the other features as well.

David Schramm began building guitars in his dorm room in the early 1990s while a student at California State University, Northridge where he earned a B.M. degree in classical guitar performance. In December 2005 he graduated with honors with a M.A. in classical guitar performance at CSU, Fresno and was nominated for the Dean of Humanities Medallion. Mr. Schramm teaches guitar at Fresno City College; he also teaches an online guitar making course www.OnlineApprentice.com, is president and co-founder of the San Joaquin Valley Guitar Society, Inc. www.sjvgs.org, and runs his luthiery business www.schrammguitars.com.