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Shane Johnson writes:

Just dropping by to see how everything is going. I'm not sure if I sent you a proper email post-receiving my instrument. I've left the current set of strings on it for far too long, and it still sounds fantastic even with dead strings(!) Here's my mini-review of what I've found in the instrument you built for me, though you know how excellent they are for yourself:

It's an amazing, living instrument. The moment I take it out of the case, it sounds completely different from the last time it was picked up. You can tell the instrument is cold and needs some affection before it starts loving you back. This is not a complaint, I think it's a very beautiful thing and shows the delicacy of the materials, how the instrument was built, and the kind of care that it needs to care for you back. It's unlike owning a "guitar", it feels as if you're in a relationship with another living being.

The tone is fantastic and wide. It's a very recordable and sensitive instrument. (I must beware of any small imperfections on my nails! It is very quick to point of my imperfections. Also a quality of it's beauty and sensitivity.) It has a very deep low end and is infinitely drivable. You can't distort it even if you try, it's limitation is simply the limitation of the strings that are equipped to it. The overtones are beautifully colorful and have a warm darkness, despite the brightness attributed to spruce top guitars. It has a beautiful melancholy to it that sounds unlike any other guitar I've played. It fits me perfectly in that respect. (I've also noticed that once the strings have began to "sag" a bit, and the whole guitar detunes by a small increment, these melancholic overtones take on a new life of mournfulness). The highs are very crystalline and bell-like and the tenor areas are nicely warm and round, perfect for melodic solo sections.

The appearance is perfect, as well. There is no mistake in the construction, you very clearly put extremely meticulous and time consuming work (and your heart, most importantly) into building each one of these. I appreciate this unit of yourself in the instrument. It's hard to give a piece of yourself away in a piece of art; only the greatest of arts do this and you've accomplished it with finesse and honesty. The colors are perfect, it looks like an autumnal breeze. It smells like one, too! Admittedly, despite how inspiring this entire instrument is, the aroma is what keeps me from putting it down! You can be playing and the intensity has dropped a bit. You'll randomly strike a chord and a lushness of aromatics comes rushing at you and just gives you chills. It's one of the most incredible sensations I've ever had the pleasure of witnessing.

I hope this wasn't too long winded, as I could go on for ages about the beauty and life of this tool. I hope you can appreciate the gift you give the people who are interested enough in seeking out your work. It's a beautiful, honest, meditative process that enriches the creator and this beauty transfers from you to those you are serving by building them these fine instruments.

Thank you so much, I will cherish your creation hopefully for the rest of my years. I plan on recording this guitar plenty and featuring it on my albums to come. I hope you can find some of yourself within my music as I've found some of myself within your creation that is before me. We are all one and with these mediums this truth becomes very clear!

Shane Johnson - August 13, 2014


Gary Holgrem writes:

I just had four days off from work and practiced hours. I cannot tell you enough how happy I am with the guitar. Every time I pick it up, I feel I am handling a sacred instrument--it inspires reverence, respect, and a sort of awe. I am completely satisfied with its playability. My left hand has had an immediate and dramatic increase in comfort--bar chords have never felt better!! I love the tone already and look forward to years of maturing with it. Even the basic physicality of holding the instrument is rewarding and pleasing.

I think there were many factors at play that were preparing me to move on from my Ramirez of twenty years. I feel immensely fortunate to have happened upon you at this time. Your correspondence and advice were very much appreciated and welcomed. I can tell you without hesitation that I very much love the guitar and look forward to years with it.

Enough for now. I am sure our love of guitars will keep us in touch. Sincerely and with thanks, Gary

Gary Holmgren - Menlo Park, California, May 2010


Matthew Grasso writes:

Peter Oberg's guitars are amazingly even in tone from the lowest to the highest note. His instruments have great sustain, wonderful projection, and are very responsive. Oberg's guitars are technically and musically profound.

Matthew Grasso - Davis, California, April 2007
7 and 25-stringed guitarist, composer, arranger, and performer.


Tim Littlejohn writes:

Since the last time I spoke with you, your guitar has opened up very nicely to the point where after it is warmed up, the sound just EXPLODES in my hands. The guitar has considerable volume and dynamic range suitable for every type of music from all periods in the guitar repertoire. The projection of the guitar is exceptionally penetrating. It is already an assertive instrument, full of personality and still maturing to its highest potential. Its character can be described as quick and responsive, sensitive but bold. When the need arises it can be BOLDLY aggressive especially when played FORTE.

One can instantly hear the separation of notes, which is clearly defined. The guitar's trebles are sweet and clear with cello like basses that continue to sing. I look forward to playing it each day and watching its progress (just like a child growing into an adult!). I wanted to take the time to say thank you and express my deep appreciation for building me an instrument of the highest caliber!!!

Tim Littlejohn, Classical Guitarist - Aiea, Hawai'i, October 2008


Murray Visscher, Guitar Instructor, writes:

I recently completed a month of recitals, playing on my new Oberg guitar. The instrument is just awesome. Although less than a year old, the guitar is wide open, surrounding me with sound and offering a broad range of tonal color, resulting in very satisfying performing experiences.

At every venue I received comments on the guitar’s presence. I was told that even from the back of the room it sounded as though I were only ten feet away.

This guitar is truly a joy to play, and almost as much fun to simply admire. I’m very happy to have it and I would give a full recommendation to anyone who is considering placing an order. You won’t be disappointed.

Murray Visscher
Guitar Instructor
Mount Royal College Conservatory
Calgary AB Canada
June, 2005


Keith Kubena, Classcical/Spanish guitarist writes:

This guitar is magical and the workmanship is second to none that I have ever experienced. The sound is vibrant yet so gentle allowing the true intended expressions to come out on all registers. I have been playing guitar intensely for over twenty five years and each time I pick this one up I always feel an anticipation of excitement, something I have never experienced with any other guitar I have ever owned.

Keith Kubena, Professional Guitarist - Stockdale, Texas, February 2008


Dr. Alexander Dunn, Ph.D. writes:

As an owner of a guitar built by Peter Oberg, I would like to express my enthusiasm and admiration for this superb luthier.

My main concern in selecting instruments is 'projection of musicality': a term I use to describe a combination of power and sustain, along with musical flexibility. I have found that Peter's guitars display considerable volume and fullness of sound, without sacrificing quality; they also retain evenness throughout their dynamic range. They are true instruments in the sense that they can be used in any type of repertoire, from Renaissance polyphony, Bach, 19th century music to contemporary music, with clarity, projection, beauty of sound, and great musicality. In fact, I have found that playing an Oberg sharpens my hearing and stimulates creativity through its warmth and separation. I would recommend an Oberg guitar to anyone who seeks a gorgeous sound, tremendous dynamic range, and a clean, expressive playing experience.

Dr. Alexander Dunn, Ph.D.
Head of Guitar - University of Victoria
Head of Guitar - Victoria Conservatory of Music


Antonio De Innocentis, Professional Guitarist writes:

For me, it is a great pleasure to describe the gifts of the instrument Peter Oberg built for me a bit more than two years ago…in fact, I am really happy to own and play that wonderful guitar. It is a cedar top guitar with the two characteristic sound holes on the sides, which I call “eyes”. The tone is warm and you get amazed by how much “body” it has. The power of the sound is astonishing: anyone who listens to it for the first time gets almost “shocked” by this feature-it is almost “aggressive”. Sound projection is excellent. Having had the chance to test the guitar in the most different situations and conditions, everywhere my Oberg sound arrives always clear and perceptible, even when I play “piano”. With this instrument it is possible to carry out wide dynamic ranges and its response to tonal changes is extremely sensitive.

Another important feature of this guitar is polyphonic clearness: I mean, the possibility to hear single voices in a chord and, even more, when I play counterpoint pieces, like Bach and Scarlatti. The Oberg has become a faithful mate in my job and wherever I play people appreciate it very much; also because this guitar allows me to completely express myself in my interpretations.

I would like to end this short note by saying that I consider myself lucky and honoured to be entered on the roll of his friends, and I am convinced that he will meet with success an even greater part of classical guitar professionals, as he richly deserves, and I feel up to recommend Peter’s fine instruments to everybody, because it just can do a lot of good to your playing!

Antonio De Innocentis, Professional Guitarist - Caserta, Italy, June 2004



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