I recently had the opportunity to play in concert a brand new guitar by Joshia de Jonge and I was immediately enamored with the instrument! It responded quickly and perfectly to every accent, colour change and dynamic impulse I asked of it, and it sang with a polished and highly refined native sound. Beautifully crafted and easy to play, it was a treat to perform with this guitar.

-Dr. Jeffrey McFadden

 

Your guitars are great giving all the playability needed and wonderful projection.

I know soloists really love the guitars with big projection but your guitars are really special and bring a positive feeling to a performer and inspire them to really play with confidence.

-Mark Eden

 

 

The guitar arrived in good shape. I had high expectations for this instrument; having seen pictures, heard audio clips, and read reviews of your work, but I never thought it would be this beautiful. It plays, sounds and looks like no instrument I have ever owned. It felt right from the first time I played it and I am sure it will get even better as the years go by. I knew from the emails and conversations that everything would turn out well. Thank you for creating such a wonderful work of art.

-Robert Spicer

 

I've enjoyed playing many lovely classical guitars at the Newport Miami Beach guitar festival. Among those are the de Jonge guitars, made by both Mr. de Jonge and his daughter Joshia. I've found both pleasant in sound and comfortable to play. It's heartwarming to see the skill and tradition carried on by the next generation and I look forward to following Joshia's work, already a fine builder in her own right.

-Muriel Anderson

 

I first encountered Joshia through her awards at a gathering of the Guild of American Lutherie. I immediately began thinking of the kind of classical I would like to own and placed my order with her. When my guitar arrived I was quite pleased with the aesthetics but more importantly the tone, gorgeous well balanced tone. If I had bank accounts in Switzerland I would order another in a heartbeat. I have 2 de Jonges now and I
thoroughly enjoy playing them. These guitars are first rate instruments from first rate builders. I feel blessed to own these fine instruments.

-Joe Thibodeau

 

I recently had the chance to play a Joshia de Jonge guitar and found it to be beautifully crafted, detailed and french polished. The guitar had a clear and focused tone which was well balanced across all strings. I was also impressed by how easily the guitar played. Made of choice materials and especially remarkable near black brazilian rosewood, the guitar was a fine instrument in every aspect.

-Jonathan Keeley

 

The guitar that you made is wonderful! It has the purest sound with secret mysteries spoken together with that deep cedar aroma. I really love it! The action and neck feel perfect.

-Michael Kraft

   

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Some Professional photography by Photo van Beek

Other pictures by Pat Hodgins

Web design by Pat Hodgins

 

Back

Child's Play April 1999

Acoustic Guitar - Gearbox April 2005

Acoustic Guitar - Great Acoustics November 2013

Please contact me regarding pricing. Applicable taxes and duties are not included. I require a 20% deposit when ordering a guitar and the balance is due upon completion of the instrument. All shipping costs and insurance are the responsibility of the purchaser. Please inquire regarding current wait times.

Each guitar is warranted against defects in materials and workmanship to the original owner for life.

 


Jeffrey McFadden
playing AC Jobim's 'Felicidade' arr, by Roland Dyens"

Played on a Joshia de Jonge


Patrick Kearney
playing Gigue by Manuel M. Ponce

Played on a Joshia de Jonge
Visit Patrick Kearney's site here


Craig Einhorn
playing 'Sons de Carillos' off his album 'Obras'

Played on a Joshia de Jonge
Visit Craig Einhorn's site here


Jonathan Keeley
playing the prelude from 'Fantaisie' by Sylvius Leopold Weiss'

Played on a Joshia de Jonge


Michael Kraft
playing 'Jean Marie'

Played on a Joshia de Jonge






 

 

 

Joshia de Jonge
14 chemin Parent
Alcove, QC
J0X 1A0
613•878•1408
info@joshiadejonge.com

   

 


Other Options

European Spruce Top

Optional Back & Sides:

     -African Blackwood

     -Brazilian Rosewood

     -Ziricote

     -Cocobolo

     -Wenge

Soundport

Fossil Ivory Nut and Saddle

Rodgers Tuners available w/ custom baseplate

Elevated Neck

'V' Neck to Head Joint

 

 

Standard Model

Top: Spruce (Engelmann) or Cedar

Back & Sides: Indian rosewood

Neck: Mahogany or Spanish Cedar

Fingerboard: Ebony

Nut & Saddle: Bone

Bridge: Rosewood

French Polished Finish

Standard scale length: 65 cm. (60 - 68 cm. available)

Neck width: 52 mm. @ nut (or as preferred)

Gotoh 510 Tuners

TKL Case Included

 

 

 

 

 

When I was young I attended guitar festivals with my family. It was very encouraging to meet other guitar makers and see their work. At the 1998 Guild of American Luthiers Convention I received a standing ovation for my guitar at a listening session judged by a jury of respected guitar makers. Up until that point my guitars were built using a traditional fan bracing pattern but that guitar was braced using a lattice design my family developed. The lattice provides a superior structure and unifies the top into one vibrating surface. These lattices generally provide the instruments with powerful projection, clear note distinction, and balance between the strings. In addition to tone, as a guitar maker I am concerned with the playability and ergonomics of my instruments. I shape a subtle twist into the necks of my guitars and I find that this twist provides the player with a more natural playing position. I french polish my guitars using a traditional recipe comprised of shellac and other natural resins that improve the durability and luster of the finish.

I am happily married with two beautiful sons. My husband, Patrick Hodgins, is also a guitar maker and we share our days spending time with our kids and being in the workshop. Building a limited number of guitars a year allows me to focus all of my attention on each instrument. In every guitar I build, I aspire to achieve a sound structure with a clean clear tone. Most of all I hope that my instruments inspire the player.


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The smell of rosewood dust is familiar and comforting, it smells like home. I never gave it a second thought growing up that my father made guitars as it was just what he did. As a child I loved being in his workshop either just sitting watching him work or playing by myself on a corner of his bench. Soon I was busying myself with various projects like boxes, yoyos, and piggy banks. I was thirteen in 1992 when I made my first classical guitar. My younger brother Sagen was going to build a guitar and I wanted to as well. We each started an instrument and worked side by side bending the sides, gluing the liners, carving necks, and completing various other tasks. It was a lot of fun and we were maybe a little competitive. We couldn't let one get ahead of the other and though we were both in school we worked evenings and weekends. My guitar was well on it's way when my family made a big move. We were without a workshop for six months or so and my guitar was packed away. Once we had a workshop set up again I could finally finish my guitar.

In my mid teens I became more interested in guitar making and in high school I earned co-op credit for working in my father's shop every other afternoon. I was also very interested in traveling. I grew up in Toronto but was born in Holland and this seemed like a logical place to start my travels. From Holland I eventually traveled to various other countries in Europe, Mexico, Guatemala, Japan, and across Canada. With a taste for traveling I would focus on my guitar work for a few months until I could afford to get back out into the world. I had wonderful experiences but always found myself drawn back home to the workshop.

As I built more guitars I discovered it wasn't as simple as my father made it look. Focused on honing my skills, every completed guitar motivated me to perfect the next. As a second generation guitar maker I am inspired by my father and other guitar makers. My father learned from Jean Larrivée who learned from Edgar Mönch. After building guitars for ten years I went to Géza Burghardt to learn french polishing.

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