Fay Guitars

Simon Fay Guitars


It has been many years since I updated this page and much of the information is outdated. A major revision is coming soon.

Florentine Cutaway
Like the body shape, I wanted the cutaway to have a graceful, modern line. I think this is an elegant design that complements the body shape and enhances the overall look of my instruments. All four points of the Florentine cutaway are fully mitered.

Stacks Image 1849
Stacks Image 1853

Fay-Style Bevel
Bevels are a fairly recent phenomenon in the lutherie community and there are two individuals credited with the innovation in its current form. Grit Laskin, a Canadian builder noted for his extraordinary inlay work, first pioneered the bevel many years ago. His design stylishly interrupts the binding/purfling on the lower bout at the bevel transition. Kevin Ryan, inspired by the Laskin bevel, came up with his own design that features a smooth transition between the bevel and the binding/purfling. For many years, I offered a Ryan-style bevel but have recently created a unique take on the idea. On my bevel, the ends terminate abruptly and feature mitered purflings at each corner. The design is unique, minimalist, and offers excellent ergonomics.

My Image
Stacks Image 1958

Headstock Overlay
I have introduced a number of new overlay options in the past couple years and will continue to introduce more in the future.

My Image
Stacks Image 1961

Headstock Backstrap
I use a 3-layer veneer for my headstock backstrap. This is a beautiful appointment that gives the back of the headstock visual interest while also highlighting the curved volute.

Stacks Image 1964
My Image

Inlaid Back Centerstrip
A departure from the traditional design wherein the centerstrip is isolated in the middle of the back. I am especially fond of this design as it has great balance and, visually speaking, doesn't split the back into two halves like the traditional design does.

My Image
Stacks Image 1967

As long as the differential between the high e and low E is kept at or below 0.5”, the difference is almost imperceptible for the fretting hand. Furthermore, there are numerous practical and tonal advantages to a multi-scale. This is an option that I highly recommend.

Stacks Image 1970
Stacks Image 1973

Pagoda Soundboard Inlay
This soundboard inlay mimics the lines of an Asian pagoda as it follows the curves of the lower bout. The design borrows heavily from the work of Michihiro Matsuda. Please visit www.matsudaguitars.com for information on Matsuda's exquisitely designed instruments.
** Special thanks to Michi for artistic permission regarding this design element.

Stacks Image 1976
Stacks Image 1979

Soundports direct a bit more sound to the player and provide a nice “monitor effect”. I’ve always struggled with the aesthetics of the soundport; nevertheless, I have recently come up with two different solutions that I think are cosmetically excellent. The oval port is a beveled design situated in the lower bout and features Ebony backing for support. The transverse port is a subdued design that is positioned near the neck heel and blends seamlessly into the binding.

My Image
Stacks Image 1982

Rosette Options
I offer a few different rosette options. My Tile Rosette is an elegant design with a high degree of versatility. The tile motif can be utilized to create a wide range of looks from vibrant and colorful to subdued and homogenous. I also offer an Interrupted Rosette and am currently working another new design that I hope to reveal in the next few months.

Stacks Image 2006
Stacks Image 1997

Rodgers Tuning Machines
Rodgers tuners are simply the finest tuning machines money can buy. The mechanical action is effortless and smooth and the attention to detail is on the level of fine jewelry. The Rodgers come in a wide array of materials and configurations.

Stacks Image 25327
Stacks Image 25330
Stacks Image 25355

© 2021 Simon Fay Guitars