The Irish Bouzouki is the result of constant evolution. What began as a bowl-backed, three-course instrument from Greece has undergone a series of transformations in the past 40 years to become the flat-backed, four-course (or more) instrument we now find in Irish and Folk scenes across the world. A select few luthiers have taken the instrument one step further, by experimenting with using guitar bodies instead of the accepted teardrop shape, in an attempt to create a more dynamically-voiced and easier to play Bouzouki. Nigel Forster, former apprentice of famed luthier Stefan Sobell, is one of these pioneers–and the territories he’s exploring are deep and resounding.This, his Guitar Bouzouki (or Gouzouki, or Gitzouki, if you prefer), is a specialty of his, and this one in particular stands apart from his standard Guitar Bouzouki model with a removable neck, which the original owner conscripted Forster to include, in order for him to remove the standard four-course neck and swap it for a fretless version, or a different profile, or whatever caught his inspiration. Alas, this Guitar Bouzouki only comes with the one neck, but the possibility is still there.Tonally, this 2010 Guitar Bouzouki is fearsome. With a voice characterized by its clarity and depth, and a projection capable of shattering windows, Forster has built an exceedingly loud and expressive instrument. This Guitar Bouzouki is louder than an instrument this size has a right to be–honestly, it can achieve volumes most instruments need to be electrically amplified to achieve. Forster has written extensively on the particulars of his building style which result in this magnificent voice, and you can read his own thoughts on the subject below: http://www.nkforsterguitars.com/blog/loud-acoustic-guitars/ Forster’s use of a “cylindrical top,” based on a Howe-Orme design from the 1800’s, allows the Italian Spruce top to be incredibly light (literally: check out the photos below which show light passing warmly through the top)–and all of that lightness translates into dynamic voicings, projection, sustain, and a well-defined top end.This Guitar Bouzouki, with Camatillo Rosewood back and sides and a Cuban Mahogany neck, has an otherworldly voice, at once persuading, ecstatic, thoughtful yet confident, moving but focused.
There's really nothing quite like playing a Nigel Forster Gouzouki. Every time one comes in the shop, I have a tough battle with myself to not just buy the instrument for myself! Each one sounds better than the last, and that's saying something. I could think of a million words to describe this Guitar Bouzouki--powerful, complex, engaging, expressive--but perhaps the best word to capture the essence of this beast is: emotional. 
I love the sound and playability of this instrument. It has an amazing tone and its overtones sound perfectly balanced. Really fun to play. | Scale Length | 25.75 in |
|---|---|
| Nut Width | 1.5 in |
| String Spacing | 1.75 in |
| Woods | Spruce - Italian |
The Irish Bouzouki is the result of constant evolution. What began as a bowl-backed, three-course instrument from Greece has undergone a series of transformations in the past 40 years to become the flat-backed, four-course (or more) instrument we now find in Irish and Folk scenes across the world
There's really nothing quite like playing a Nigel Forster Gouzouki. Every time one comes in the shop, I have a tough battle with myself to not just buy the instrument for myself
I love the sound and playability of this instrument. It has an amazing tone and its overtones sound perfectly balanced 