Theo Scharpach was born near Vienna, Austria. He has been making guitars for almost 25 years. Currently, the Scharpach workshop is in Bergeyk, in the Netherlands. Theo was trained in the fine art of wood handcrafting. In addition, he also graduated as an antique furniture restorer. The Scharpach guitar-shop opened in 1976.
Scharpach never had the intention to produce copies of guitars that are already on the market. He wanted to develop guitars that added something to the history of guitar-making. He certainly doesn’t deny the history of guitar-making, rather he is very interested in the history of the guitar, simply because that is knowledge we get for free, but Scharpach feels we can, and should, move further.
He appreciates for example, the guitar of Torres, but would not make a classical concert guitar by copying Torres. Still, he is able to value that sound. Thus, Scharpach is simultaneously an old world style luthier and a progressive modernist.
For instance, never understanding why other makers often narrow their product line to such extremes, he does not limit himself to constructing either nylon strings, archtops or steelstrings. He feels this would not be in the tradition of the art of instrument making.
A violin-maker often makes cellos as well. Even Stradivarius made guitars and other instruments but this is often not known. The craftsmen of the 18th and 19th century were very versatile. In the beginning, Theo made all kinds of instruments; many South American guitar-like instruments like: Tiple, Cavaquinho, Requinto Charango etc... He also did some cisterns and mandolins. He has made double necks, long necks, 8-strings, 8-strings long necks, harpguitars etc...
All these experiments in the past gradually made the name of Scharpach represent a guitar that delivers a new, recognizable, high quality and unique sound. He is most grateful to all his clients of the past, for putting their trust into his hands. They helped him to build what has become an incredible career.
Theo’s partner, Menno Bos Grew up among church organ and choral singing. As such, the guitar is not the most obvious instrument you would expect him to be attracted to. It took until Menno was about 16 years old before he was touched by the sounds of the classical guitar. Menno feels the fascination is probably due to the intimate character and the innumerable possibilities of sound colors this instrument has.
Menno started the study of classical guitar with full dedication and after some years of private lessons went to the conservatorium in Arnhem where he concluded his schooling successfully in 1987.
During Menno’s study he was also absorbed in the historical development and the structure of the instrument. The moment he took the chisel in his own hands and set off to work by himself might be due to the fact that his father built his own sailing boats.
The type of guitars Menno Bos built before he started to work with Theo Scharpach are:
the vihuela,
the baroque guitar, the flamenco guitar,
the classical guitar,
the acoustic bass guitar,
the electric bass guitar, the electric guitar and
the acoustic guitar.
Menno has worked with Theo Scharpach since 2001 and claims it has been an incredible experience. It was never Menno’s intention to improve the guitar as an instrument - he always relied on the experiences of the famous builders. Theo Scharpach however, during all the years as a guitar maker, has tried to further develop the guitar - he gave the instruments their own identity without ignoring the history and the experiences of other instrument builders.
The hundreds of instruments Theo has built and his consequent experience, have constituted a solid basis for the instruments they produce together now.
Scharpach Classical Concert Guitar
This classical guitar is one of the great Scharpach masterpieces. It took about 15 years to develop this guitar, during which a completely new approach to the instrument was developed. It could be argued that this is an entirely new type of classical guitar. It features unique constructions, like the double sound-table resonator, separated by a bracing system from the back of the guitar, or the new semi-cutaway.
Scharpach is proud to build a guitar as desirable and exciting as the Vienna Archtop. They are just as proud of the people who play them. The Vienna is built for the most passionate guitar lovers. Scharpach believes that design details should enhance the beauty and the basic shape of the guitar. You can see that all proportions are perfectly balanced, a dynamic powerful elegance. Yet this is done without any overt features that would distract the eye. The architectural purity of the design gives the guitar a clean shape that represents the essence of the sound.
The dolphin got its name by the special shaped fingerboard that extends over the soundhole. The idea for this guitar came from a respected friend Mr. Uwe Kropinski. He ordered in 1990 a 4 octave guitar with a scalloped fingerboard and that is what he got... In 2001 a new design of the same concept was successfully made for Uwe Kropinski. Scharpach and Kropinski agreed that there is in fact no superior nylon string on the market which is not a classical guitar. And there is a small need by jazz and/or pop artists to perform on nylon string guitar which has the superior acoustics of a classical concert guitar but with features that would accommodate their own way of playing.
This new steel string Dolphin was designed in November 2003. It has a similar body design as the Scharpach Selmer style guitar, but features a unique top design and body construction, and also the Scharpach-style double-soundholes. The guitar produces a different quality of tone than most flattops. It is very suitable for playing Brazilian style, Jazz or any Folk style music and sounds great played with pick or finger style.
The Jumbo is built in the traditional American style. The design follows the shapes of traditional instruments like Guild or the old Gibson Style acoustics. This guitar produces a rich, powerful, yet mellow tone. The basses are strong and clear, while the treble strings still have a "punch" even in the higher positions.
The guitar can be ordered in several materials. For the top you can choose cedar or white spruce, the sides and back can have Indian rosewood, Brazilian rosewood or Honduras mahogany. The standard model has no cutaway but can be ordered with a sharp cutaway as well.
This is the 12-string version of the Scharpach Jumbo. The Grand Dad is available in all kinds of materials (recommended WITHOUT a cutaway). The Grand-dad can be obtained with a 12 fret neck or 14 fret neck.
The guitar is built in a traditional way, but is also available with a double top design. The double top design is best used with light or medium string tension and will produce a fine detailed tone for finger-picking style.
The first SLAB Scharpach made was for Hans Theessink, probably the only famous, internationally successful Dutch Blues Player in the world. Later, Scharpach made another one for the well known songwriter in the Netherlands; Boudewijn de Groot. He liked the dark colored sound of the d-tuned guitar to fit his voice.
The played D-chord sounds one octave lower, when playing the E- finger setting in the first position, which gives the guitar an open tuning character.
Scharpach
