‘Regia’ - Adrian’s Brand New Model S!

All words written by Adrian, the latest owner of a TSG.

I stumbled across Tom’s guitars at a Will McNicol workshop in Ripon. I have a professional level, small factory built instrument, but was taken aback by the tone, balance and projection of the Sands M I played that day. I was particularly impressed with the gorgeously rounded trebles. Tom is doing something very special in this area.  It’s rare to find an instrument that can be played close to the bridge without it sounding shrill on the high E. 

Listening to the conversation at a visit to his workshop I was also struck by Tom’s level of knowledge and enthusiasm for materials and his commitment to building instruments that meet the needs of the player. 

I prevaricated. I watched far too many demo videos, but it was all heading to one inevitable conclusion…… I had a spec in mind but a limited budget. It was really helpful to sit down with Tom at the start of the process and explore ways to achieve the sound I was looking for.

I wouldn’t have thought of the materials he suggested, but they made perfect sense and I was keen on the idea of building as sustainably as possible. From then on the process felt very much like an ongoing dialogue. We changed a few things on the hoof as it went along; he helpfully sent me mock-ups of different options and suggestions, which made it easier to make decisions.

I now have over 80 photos of the build stages and a much deeper understanding of what it takes to make an instrument like this. I also visited the workshop so Tom could measure a neck I particularly like and carve the new one to the same dimensions. The fact that the Regia fits a glove isn’t down to chance.

I wouldn’t change the process at all. I really appreciated the lengths Tom went to involve me and I think it made all the difference to the final product.

Tom’s sound was the primary motive for my commission but another key factor was his approach to design. For me, Tom’s work focuses on the essentials and makes the most of the materials themselves. It comes from a deep respect for the instruments history and an openness to keep moving things forward. It’s only now I have the guitar in my hands that I’m fully appreciating the individual features: The headstock is firmly rooted in the classic Martin tradition with just the right proportions, but the offset at the top makes it both distinctive and contemporary. The curve at the bottom of the back-strap looks super cool and also allows the guitar to sit perfectly in the hand when it’s lifted by the neck. The bridge is a development of the Somogyi style, but is more understated and elegant - I love the way it thins down to almost disappear in-to the top at the back edge. The hint of green purfling is just enough to set off the dark fenland oak and the oranges in the walnut. 

As for the sound, Regia has exceeded my hopes. I’m really not sure it’s legal to coax this amount of sound out of such a small guitar, but achieving a balanced voice with clear string separation was at least as important to me.

The initial impression is of strong projection, the assertive but not overwhelming bass I’d asked for, rich fundamentals and those creamy trebles are there in spades. These elements all sit beautifully together wherever I'm playing on the neck; nothing stands out unless you choose to bring it out. I’m now having to adjust the way I play to take advantage the greater range of tone, colour and volume and it’s already changing the way I write. It’s a bit like painting in greyscale for years and then being given large pots of vermillion, cobalt and emerald to play with.