This fine Oberg guitar quickly found a new home, Peter is in the process of building another for me, please call for details....

I have known Peter for many years and we have often spoken of working together, but one way or another life got in the way and we simply just never found the time to make it happen, though it should have long ago. Well we finally resolved this when Peter happened to be passing through Santa Barbara and he let me know that he was finally able to bring a guitar by for the shop.

Peter is a talented and committed builder who has been building fine guitars for many years. He has the unique, and highly coveted, position of having spent nearly two years working shoulder to shoulder with Robert Ruck. What builder would not give a few years off their life for that opportunity? Peter relates that he learned a vast amount working with Robert and is thankful for the opportunity to spend so much time with the master. Having said that, he has really carved out his own identity over the last sixteen years, and has taken the foundation that he gained working with Ruck and built and tweaked the designs to create his own voice and his own instrument.

I really enjoyed sitting down with this guitar for that reason and getting to know her. The first thing I noticed was that the volume surprised me, in fact Scott Tennant of the LA Guitar Quartet happened to be in the shop the following day and I asked him to play the guitar as well, and his first question was “is this a double top?” So, that was the first impression that both Scott and I had. Good volume. Peter however makes it clear that volume is not his primary goal but a bit of a 'side benefit' of his main goal. As Peter explains: "Regarding the loudness, I should say that trying to build a 'loud' guitar is not one of my primary objectives. The volume is a byproduct of clarity of sound, meaning that if you can hear the note well, if it's a pure note, then it travels and is perceived easily. By 'pure' I mean that there are no higher partials unduly reinforced, which will cause a nasal or harsh sort of timbre. If the note has an even, but not over, emphasis on the lower partials, then there will be a fullness and clarity to the sound. This helps in the realm of volume, in creating a note that does not have a sharp attack followed by a quick decline, but rather one that is full and colorful, with plenty of sustain."

Peter's contemporary twist on the traditional bracing system, combined with the stiffer 4 braced back results in this instrument achieving Peter's goal exactly as he describes it. The beauty of the tone is enhanced also by his incorporation of two sound ports, which impart a somewhat 'stereophonic' effect for the player. The scale of 645 is highly comfortable and Peter has added a fret marker on the 7th fret as well. Peter also added a tastefully carved and stippled detail on the headstock, Gotoh Premium tuners with frictionless roller bearings, an artistic rosette design, and figured maple bindings, all finished at a very high level with French Polish (shellac). A fine instrument, with obvious and delightful ties to the style of Robert Ruck, but truly standing on its own as an "Oberg Guitar".

A note from Robert Ruck

"Peter Oberg worked for me for a period just shy of two years. He had a lot of woodworking experience and considerable guitar making experience prior to working for me. Peter is a very fine craftsman and in addition has a deep understanding of music. Being an accomplished musician, guitarist and composer with a personal and demanding style gives him insight into the demands the musician puts on the instrument that are far above the average guitar builder. I believe that the integrity of his construction and the overall scope of his instruments will prove to be of lasting value."

- Robert Ruck

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