Dominique Field, 1998

Every so often a guitar arrives that reframes what we thought we knew about a maker, and this 1998 Dominique Field is exactly that kind of instrument. We have had the great opportunity lately to get to know several fine Dominique Field guitars, but this is the first we have been able to live with from the late 1990s, a period that is especially sought after among players and collectors of his work.

Dominique Field sits at the absolute top of his generation of French builders, part of the lineage that runs through Robert Bouchet and Daniel Friederich. These are legendary names, and Field’s instruments are played by some of the most celebrated artists in the world. This particular guitar is his 126th, built in 1998, and it feels a little lighter in the hands than some of the other Fields we have known. It also carries a touch more of that Bouchet character in its voice, which is part of what makes it so special.

Specifications

Luthier: Dominique Field
Year: 1998
Number: 126
Top: Spruce
Back & Sides: Brazilian Rosewood (three piece)
Construction: Traditional, nine fan braced
Finish: French Polish
Scale Length: 650 mm
Nut Width: 53 mm
Repairs: Two cracks, professionally repaired by Richard Reynoso
Strings: D’Addario XTC45FF with normal tension nylon first string
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Condition: Excellent overall

Sound & Character

The trebles on this guitar may be some of our favorites we have ever heard. They explode off the strings with a quick, clean attack, then bloom into long sustain and beautifully complex overtones. There is an openness, a ringing clarity, and a sense of fundamental presence that recalls the shock and surprise of playing a truly great Bouchet for the first time. It is the kind of voice that is very difficult to replicate.

It is also an exceptionally sensitive instrument. It rewards an accurate, intentional touch and gives back exactly what you put into it. The trebles have a silky, vocal quality that simply wants to speak, and that singing character is the true charm of a great concert guitar.

The basses are no afterthought. They carry a real elegance rather than the rambunctious power of a Spanish guitar, staying controlled and refined while keeping the bite you want. The fifth string is sweet and colorful, and the sixth is deep and rich, holding its composure even when driven hard. Rather than collapsing into a harsh or nasty sound under pressure, it stays affirmative, rich, and sustain laden. This is something that feels like only the French school can do, the sound of Friederich, of Field, of Bouchet.

Playability

The neck is a 650 mm scale with a 53 mm nut width. The action is nice and low, and the neck profile is fairly round, close to a C shape and perhaps slightly on the thicker side, which we find very comfortable. The guitar feels responsive and immediate across the fingerboard, encouraging musical risk taking and nuanced expression.

Construction & Design

The guitar features a beautiful spruce top over a nine fan bracing pattern, paired with a stunning three piece set of Brazilian rosewood back and sides. The iconic Field rosette, which he has used with only slight variations throughout his career, is beautiful and simple at a glance and reveals more complexity the closer you look.

The headstock carries the classic Daniel Friederich shape, and the headstock veneer, which we believe is also Brazilian rosewood, makes the instrument especially distinctive. The interior label reads Dominique P. Field, Paris, 1998, number 126.

About the Luthier

Dominique Field is widely regarded as one of the most important French makers of his generation. Working in Paris in the tradition descending from Bouchet and Friederich, his guitars are prized for their refinement, power, playability, and unmistakable design identity, from the elegant headstock and rosette to the overall aesthetic. His instruments are exceptionally rare on the open market. He continues to build today, but with a waiting list reported to be well over fifteen years, making it nearly impossible to acquire a new instrument of his.

The guitar is in excellent condition overall, with only very minor marks here and there. There are two repaired cracks, cleanly addressed by the fine craftsman and restorer Richard Reynoso, and they are hardly noticeable. The instrument presents beautifully and has clearly been well cared for.