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Obviously there are differences between steel string and classical guitars.

I was just watching a 'how-to' video on classical building, and was surprised when the presenter said that the neck angle on a classical should be flat, or nearly so, and possibly even angled forward towards the top slightly if you are using a thinner bridge.

Is this typical for classical/nylon string guitar?

classicals will use a different geometry . The nylon doesn't have the string tension of the steel .

Yes the plane of the neck on a classical is indeed flat and level with the sound board surface -- often missing on instructions/descriptions is the fingerboard detail that shows that he fret surface is tapered thicker at the nut end then at the sound hole end --- what this does is create the necessary string clearance -- the idea that vintage classical have a forward neck bow is bogus -- this forward bow that can be seen on old guitars is the result of age and the tension of the strings over time -- the instrument is in need of a neck set -- no different than an older steel string guitar. The tension of the strings also creates the slight dome in the soundboard.

From what I have learned, Classical guitars strings want to have a 2-3 mm lower height at the the sound board than a steel string (11mm). To get this height and the right action at the 12 fret, the neck effectivly has to be angled forward. Some call out 2 mm at the nut off of plane. I do it like Ken describes, I make the neck angle flat and taper the fretboard so that it is about 1 mm thinner at the 12 fret.

Bogdanovich does call out tilting the neck forward 2 mm at the nut. He builds this tilt into his solera.

I highly recommend Alfred Sloane's "Classic Guitar Construction" publication to anyone thinking about making such an instrument. He was a researcher, historian, musical instrument maker and repairman. His detailed writing, illustrations, explanation of purpose is outstanding and all doable -- been there done it (several times).

kencierp wrote:I highly recommend Alfred Sloane's "Classic Guitar Construction" publication to anyone thinking about making such an instrument. He was a researcher, historian, musical instrument maker and repairman. His detailed writing, illustrations, explanation of purpose is outstanding and all doable -- been there done it (several times).

I second this recomendation.