USED & VINTAGE- SOHO (N-Z)
Used Petros FS Engelmann Spruce/Walnut 3217B
Used Petros FS Engelmann Spruce/Walnut 3217B
Petros Guitar’s body sizes play an important role in meeting your needs. The choice depends on your playing style. The smaller body Parlor and FS are most popular for the more subtle, finger style player.
The Pre-stressed arched top is responsible for the ringing, sustaining trebles as well as increased stability. The braces are shaped to a 30 foot radius and glued to the top that is placed on a concave work board in a vacuum press. Flexing a saw blade raises its pitch. This is the same principal with our tops. The fundamental trebles sing clearly as well as the enhanced set of overtones. You get the full potential of each string. Increased stability is another benefit of the arched top. Being pushed up with the arched braces prevents the top from going up any further. This arch also works just like a car bridge and resists going down. Flat tops have the latitude to go up and down with temperature and humidity changes. This arch is also designed to allow the fret board to go up that ramp at the body. No drop-off fret boards as seen on many flat tops.
TOP GRADUATION AND BRACING
The Graduated top makes for more bass. Petros Guitars meticulously thin the top around the edge which acts just like the soft surround on a speaker. This enables the top to move more easily as a whole creating big basses. Symmetrical bracing makes for equal stress on the top. The bass strings don’t have less tension on them to lower the pitch… they just add more mass with the windings. The tension on each string is quite equal. Making one side of the top looser and the other tighter for bass and treble production is counterproductive. We believe asymmetric bracing creates undue tension and this is what we try to eliminate so the top is freer to vibrate. We see the guitar top as a speaker. Speakers are always symmetrical and produce a wide range of tones.
The bridge plate system is another unique feature of Petros guitars. Here is another place where tone, structure and stress are accounted for in a new way. Although the bridge is also a brace, the top can use some additional support for all that string tension at that location. We also need something hard to withstand wear from the ball ends of the strings. Most guitars use a great big Rosewood or Maple plate to do both things. We believe this is too much hardwood for this sensitive tonal area. Petros Guitars, unlike anyone else, uses a tonal and strength appropriate spruce support at a transitional 45 degree angle. Then we add a small ebony pin plate to support the ball ends of the strings. Ebony is much harder than either Rosewood or maple. The Petros system has less mass and more strength while using spruce’s great tonal characteristic
Neck construction is a very important feature. Petros necks are constructed with two pieces of end to end flip matched high quality Honduras Mahogany. If a board had an inclination to warp in a certain direction, then the technique that Petros Guitars uses counteracts that tendency. In addition, it creates a very classy look at the heel.
Petros Guitars laminates a decorative and functional veneer between the neck and the fret board. That says it all; it is decorative, and it is a real lamination that creates strength and stability.
Real dovetailed neck joints are becoming a thing of the past for reasons of manufacturing convenience for many factories as well as numerous small builders. Not for Petros Guitars. We believe the integrity of this joint is one more piece of the sound puzzle and won’t eliminate it.
The fingerboard edges taper rather than being perpendicular to the face. This enables us to take almost 5% more wood off the neck . This feature allows lots of room on top without the feeling of a clubby neck. Less fatigue, better articulation.
The backward tilt bridge and saddle are a feature unique to Petros Guitars. In addition, the break angle of the strings is equalized which puts less stress on the saddle and bridge. Look at many standard straight up and down saddles and notice how they are now leaning forward. This forward stress can actually break the front of the bridge right off and not only is there undue stress but the intonation is now worse than originally designed. Although string tension is stress, the more you can accommodate it the better. The extra width of the Petros fully compensated saddle is also a great stabilizing factor.
A fully compensated saddle is an absolute must for virtually perfect intonation. This is not only essential for standard tuning but a perfect boon for alternate tunings. A quick explanation of the need for compensation: Although the 12th fret is theoretically halfway between the nut and the saddle, you are stretching the string when you press it to the fret. This makes the note go sharp. This problem is “compensated” for by moving the saddle back to bring the note back in tune with the harmonic. The amounts the notes go sharp are exacerbated by several factors.
1. The diameter (or gauge) of the string. The bigger the string, the more it goes sharp. Exception: the windings on wound strings don’t count. It is the core of the string that stretches. Therefore the B string is actually bigger than the G string and therefore goes sharper. That is why you see the B string compensation being further back than the G string.
2. The tension of the string. Longer scale lengths need more tension to bring a string up to pitch. The more tension on a string the less it goes sharp with additional stretching. Strings with less tension go sharper proportionally with additional stretching. Short scale length guitars need less tension to bring the strings to pitch. These need much more compensation and are more troublesome. Any scale length when tuned down (the normal direction for alternate tunings) require more compensation because of the lessened tension.
3. The height of the string. The higher the string the more it stretches as you are pushing it to the fret, therefore, the sharper it goes. This is another good reason for a great set-up. Petros backward tilted bridges and saddles compensate for this unlike any other guitar. As you raise the action (if you like higher action) the saddle actually goes back as well as up thus compensating more for the higher action. Petros compensated saddles are actually strobed a couple cents flat on the bench at standard string height and tuning. At the bench one can push the string to the fret very carefully. In the real world, players stretch the strings more than on the bench in a controlled manner. This extra “flattening” additionally compensates for alternate tunings. Uncompensated saddles take none of this into account and will never let you play in tune. Top quality bone is the standard saddle material for Petros Guitars.