David Pace, 2014

Concert volume does not require a double top; this 2014 David J. Pace proves it with bearclaw German spruce, master grade cocobolo, and twelve years of playing behind it. It is a traditional fan braced build from a maker equally known for his composite tops, and it has matured into a voice that is powerful, crystalline, and wide awake.

It was a private commission, the first guitar he completed in 2014, and nothing about it was trimmed back to hit a price or fill a shop floor: a top grade bearclaw German spruce top, a set of master grade cocobolo with a reddish glow and figure that could pass for old Brazilian rosewood, Graf tuners with mother of pearl buttons, a raised and radiused fingerboard, an armrest, and French polish throughout.

Comfort is a real part of the story here. The 640mm scale and 52.5mm nut take the strain out of stretches without costing the guitar any authority, and the neck is a medium C shape that leans toward the slim side. Players who struggle with reaches will notice it immediately; players who do not will simply find themselves relaxing into the instrument.

This is the first Pace we have had in the shop, though his instruments have been on our radar for years. Nathan Mills of Beyond the Guitar plays a David Pace in nearly all of his videos, and getting to know one in detail explains why.

This is a solid spruce, traditional fan braced instrument, and when you are willing to push it, the volume rivals the modern composite builds. What it adds is a crystalline, singing clarity that composite tops rarely match.

This is what twelve years does to a well built spruce guitar. The voice is fully awake, with no stiffness left in it. The first string sings with a bell-like focus, and on the second string a rich set of overtones blooms up and surrounds the player as you lean into a note. The third string, so often the compromise on a classical guitar, lands in a satisfying mix of clarity and warmth.

The basses are where this guitar shows its range. Play gently and the fourth string gives a beautifully subdued, intimate character; commit to it and it turns aggressive without complaint. The fifth string is a gentle giant, and the sixth is remarkably even from fret to fret, with nothing jumping out and nothing falling away. It is a guitar that rewards both risk and restraint, and it keeps handing back rewards for the subtle choices as much as the bold ones.

Playability is exceptional. The 640mm scale and 52.5mm nut make the left hand feel effortless, and the fingerboard carries a subtle 30 inch radius that you barely notice until you play a barre chord and feel the extra support under the fingers. The raised fingerboard puts the upper frets within easy reach, and the generous armrest keeps the right forearm off the top, protecting both the finish and the sound.

The action sits at a comfortable 2.8mm on the treble side and 3.5mm on the bass at the twelfth fret, and it has not moved since the guitar was completed in 2014. There is still plenty of break angle at the bridge. David puts serious effort into stability, and twelve years without the geometry shifting is the proof.

The top is top grade bearclaw German spruce, and the figure shows from nearly any angle you tilt the guitar. It is paired with master grade cocobolo back and sides that carry a deep reddish glow and beautiful figuring. The whole instrument is finished in French polish, and the soundboard has taken on the warm amber cast that only age gives a spruce top.

Under the top is seven fan bracing combined with Pace's distinctive buttress system: cedar members that run from a side brace, hover above the soundboard without touching it, and anchor into the heel block, with a second set rising back up the other side. It is a stability minded design, and it is a large part of why the geometry of this guitar has held so well.

The details are where Pace's work stands apart. His signature rosette is full of color and fine detail, executed with exceptional cleanliness. The bridge is matte finished with a mother of pearl tie block. The headstock is faced in cocobolo, and the back of the headstock carries a veneer that mirrors the front design exactly, a touch most makers skip entirely. The label is signed by David and marks this as his first guitar of 2014.

The Graf tuners deserve their own mention. George Graf no longer produces these machines, apart from a couple of special models at extraordinary prices, and they remain among the finest ever made: two tone plates with engraved leaf work, silver hardware, black rollers, and mother of pearl buttons. They are works of art, and they turn with a precision you notice every time you tune.

Specifications

Top: German Spruce, bearclaw figure

Bracing: Seven fan with cedar buttress system

Finish: Hand French Polish

Action: 2.8mm treble, 3.5mm bass at the 12th fret

Fingerboard: Raised, 30 inch radius

Neck: Medium C profile, on the slim side

Bridge: Matte finish with mother of pearl tie block

Headstock: Cocobolo veneer front and back

Appointments: Armrest, solid hardwood linings, lower bout buttresses

Case: BAM

Condition: Very good, crack free, honest signs of twelve years of play

David J. Pace builds in Baltimore, Maryland, and has quietly become one of the most respected concert guitar makers working in the United States.

He built his first guitar in his late teens, largely out of frustration at not being able to get his hands on a good instrument. A career in audio engineering followed, and then a trip to Spain and time spent around the workshop of Amalio Burguet pulled him back toward building. Mentored by Ross Gutmeier, he started his first serious instrument in 2002, working out of a small apartment.

His early work drew on Torres, Fleta, and Bouchet, and by 2010 he had arrived at a voice of his own, incorporating thoughtful modern details alongside traditional Spanish construction. He builds both traditional solid top and double top instruments, always French polished, and his guitars are known for an evenness across registers and a three dimensional quality to the sound. His work has been reviewed in Classical Guitar magazine and his instruments are played by professionals and conservatory students alike.

This guitar is in very good condition and shows the honest evidence of twelve years of being played and enjoyed. There are small scratches here and there on the top, and frequent nail impressions on the back of the neck. The soundboard has oxidized to a warm amber tone, which we consider a feature rather than a flaw.

The instrument is crack free. The action has not moved since it was completed in 2014, and it comes with a BAM case.