NK Forster Guitars C

My NK Forster Model C was made in 2007 and features:
A two piece solid premium Rio <Dalbergia Negra> back and sides.
Premium solid Italian Spruce Top
Cuban Mahogany neck <cut from a single block of wood harvested in Jamaica in 1908>
Ebony belly bridge
Ebony fretboard
rosewood body bindings
custom rosette
gotoh 510 tuners
25.5" scale
1 3/4" nut
2 1/4" string spacing
12 fret to body
zero fret
body length 19 3/8"
lower bout 16 1/2"
depth at heel 4"
at tail block 4 3/8"
2007 compliant melamine lacquer finish
Calton Delux Flight Case

The Model C has a striking general design. The body lines, contours and proportions are Nigel's own and combine to a very pleasing whole. The cut-away is in the Selmer fashion and the body shaping pays homage to both the Selmer and the Sobell. The upper bout and lower bouts gather at a tight waist. The shoulders are squared. The Brazilian back and sides are of the highest quality and are rich with green and purple hues. It is nearly identical to the Brazilian used by Herman Hauser I and Robert Bouchet. The spruce soundboard is flawless with just the right grain spacing. The top and back are noticeably domed along both the horizontal and vertical axis. The Cuban mahogany neck has a beautiful grain pattern. The Brazilian headstock backplate is extended down and into the back of the neck forming a tenon joint. The contrast of the Brazilian cover plate extending into the dark carmel of the neck is very striking and very appropriate to the the general design. The headstock is slender, simple, and without inlay. The tuners are of very high precision. The finish work is very professional. It appears thin and even. The body bindings and purflings are cut and placed with extreme precision. The interior workmanship is also clean and precise.

I purchased the Forster after developing an interest in Celtic fingerstyle playing. It serves that purpose in the positive extreme. I was so very pleasantly surprised that it's design and action also allow for Doc Watson/Travis style tunes, blues, swing,old time country, new acoustic, James Taylor, etc. It has many voices that can be brought out with attack and position. The 12 fret to body design allows the bridge to be positioned in the sweet spot on the sound board. The cut away allows free access to the upper frets. It can be made to sound trashy for a Robert Johnson blues or sweet for a Mississippi John Hurt blues. It performs well in both standard and drop tunings. Great for bottleneck slide. The note separation and balance is exceptional. The bass is powerful but can also be made gentle and whispering. The bass strings react to a lighter touch than any guitar I'ver ever played. If you increase your attack the bass doesn't lose any quality or focus. You can't seem to "over drive" the bass. The notes seem to develop away from the guitar as if they surround you. The sustain is remarkable in both longevity and focus. The treble is bright and clear. Leads played above the octave are as crisp and clear as those played in the first position. The balance within triads will amaze you. It has plenty of headroom. It is an excellent guitar behind a vocalist. I often play with a friend playing a pre war Martin D-28 chording with a flatpick. The Model C cuts right through chords played on the best of the Martin dreadnaughts with plenty of volume and beautiful clarity. Played solo it allows for the most gentle Celtic tune to the most aggressive fingerstyle bluegrass piece. The neck design is low profile but not to the extreme. It seems to just fill the hand at any position. It has just the right amount of shoulder if you use the thumb over. It is somewhat like a classical guitar in the emotion the tone/action allows. It has a very unique percussive quality that makes for real interesting rakes with muted strings.

The set up was perfect when it arrived. The woods were of the highest quality, the bookmatching was flawless and the workmanship was of the highest quality in all phases of construction.

Forster guitars should prove very durable. The soundboard is thicknessed in a way the provides the optimum blend of structural integrity and vibratory action. It is arched in a manner that lends to strength. The neck joint is a Forster adaptation of an English heel. It should never need to be reset. The headstock to neck scarf joint is designed to minimze the threat to the weakest point of the neck. The continuation of the headstock backplate into the neck joint furthur reinforces the throat of the neck. The bridge is oversized but thinly carved in a manner that better distributes the string tension into the top. The finish is applied in the English tradition with the finish being put "into" the wood rather than over the wood. It should wear very well. The body binding and purfling is positioned in a way that the top and bottom plates can be removed should the guitar ever have to be worked on. I have played mine in a variety of temperature and humidity conditions. It stays in tune.

The guitar has a warranty to the original owner. Nigel will fix it if the problem is due to design or workmanship for his lifetime or yours. He's a real easy guy to work with and I don't anticipate any problems. I find Nigel to be a square dealer.

I am 55 and have played since my teens. I also play a 37 D-28 and a 37 D-18, a 1930 larson Brothers Euphonon, a 40s J-200, Monteleone mandolins and several Scot violins. I have another Forster J model guitar that I will review separately. I was not dissappointed with the C model in any way. If it were stolen I'd need another. It is not one of the most beautiful guitars I've had from the standpoint of design and execution but is one of the most exciting I've had from the standpoint of tone and playability. I compared the Forster to many modern makers by listening to sound clips on various retail websites. The tone always stood out. His Rio guitars aren't cheap but reasonable in comparison to many others offering less impressive woods. You should note that Nigel has many sound clips avaialable on his website and links. His models made of less expensive woods offer a lot of tone for the money too.

Finish appears to be nitro and is perfect throughout. The body style is bigger than an OM but perhaps a bit smaller than a true jumbo. It is very comfortable to hold and play for extended periods; I played it nearly non-stop for 6 hours yesterday at a local venue, and I never got tired. Tuners are gold Gotoh, and the case is a Calton (nice). The Scale is 25.5 (648mm). I am amazed that this guitar, while set up for light gauge strings, can be easily tuned down to CGCFCD and sound as bright as if it had mediums on it. Superb for open tunings. Fourteen frets to the body and a zero fret. Neck is low profile and as fast and comfortable as any I've played. Top is EuroSpruce and Nigel's guitars have that Sobell-like semi-arched top and back. Body is East Indian Rosewood, and this Forster compares favorable in every respect to my Sobell Model 1. My Forster is a bit deeper than my Sobell and exhibits a rich, full bass.

I play primarily in open tunings, mostly what is called 'Celtic,' mostly the arrangements of Martin Simpson. This guitars excels in all aspects of sound....sustain, overtones, depth, resonance. I have a Sobell Model 1 to compare it to, and while having it's own unique voice, it is equally delightful to play and listen to. Loud, ringing trebles and ample bass response. As good as it gets.

I purchased my Forster C used. The action is fine for my style of playing. Strings are low enough for all my sliding, hammer ons, and pull offs, but high enough to drop it way down and never worry about fret buzz. It's just about perfect. The saddle is split into two pieces, and the bridge is canted a bit, being lower on the bass side. Nigel know's what he is doing, and this guitar is quite versitile. In regular tuning, when I play blues on it, it sounds just a nice.

I've only had it a month, but it appears to be solidly build, while being light enough to really ring and sustain. I played at a local vinyard yesterday, 6 hours straight (except for coffee) and it was great. I play seated.

Used, no warranty. I have emailed and corresponded with the builder, Nigel Forster, and he immediately answers all my questions and returns every email. Very helpful and nice fellow.

I've been playing for more than 40 years. I've owned dozens of guitars over that time. The Forster C is better in tone and playability than every guitar I have encountered, and compares favorably to my Sobell Model 1. I would buy one again without a second thought. I love everything about the guitar. What I like most is the incredible sound. For my fingerstyle style of playing and the open tunings I play in, that guitar is phenomenal. I only wish I had another in Madagascar Rosewood. Playability would be my second favorite feature. The superb tone with the wonderful playability make the guitar as good as it gets.