Construction and Models

In our work shop, the job is entirely hand made. The contact with the subject and its study become important and conclusive parts in the conception of the tool. Our primary source of inspiration are the Spanish guitar makers lived between the XIX and the XX century, from which we adopt the same techniques of workmanship: from the mosaic that characterize the decorative rose around the hole up to the painting realized with mix natural resins solute in alcohol, we become interpreters of consolidated traditions.
All of our job before, during and after the constructive phases, e is aimed to get the perfect equilibrium of all the parts that compose the tool. Currently we develop two models with different acoustic projects:

the first one, of ancient inspiration, with references to Antonio De Torres and Enrique Garcia, uses harmonic table in Spruce, focusing the sonorous result toward specifics characteristics as the refinement of the tone, the regularity of the sound among the different positions of the keyboard and in the jumps of string and, finally the clarity or polyphonic distinction;

the second, of contemporary and personal inspiration, where together to the use of fun bracing we set some transversal chains as register under the harmonic table. In this case the project aims to increase the range of dynamic excursion among “plain and strong” and to a great “sustain” of the pinched note. In this case we use both Spruce and Cedar for the harmonic table with obvious different specific in the project.
We use two different personal forms for the shape of the guitar, so the client can decide which to choose, in accord to the constructive project:

Form n.1: traditional, with dimensions of the superior shoulder, sides, inferior shoulder, height middle bands.

Form n .2: slightly greater, with relatives dimensions of the superior shoulder, sides, inferior shoulder, height middle bands.
The standard length of the scale lenght is of 650 mm. On application it will be possible to make sensitive variations.
The price is defined from the material, the manufacture of rose and purfinilg as well as the supply of the mechanics.
Besides the constructive project, the selected and seasoned wood that we use creates the acoustic result of the tool.
In accord with us, is also possible to vary the choice of the wood of leadings and bands: it ensures the acoustic finality of the project and it determines the price of the guitar.

An explanation about the materials:
I will try to give a definition, with simple words, of the differences of the woods used hoping to do something pleasant to whom, for the first time, drew near to this world. Normally the wood used for back/sides, cause of conclusive variation on the price, is often a question mark for the guitarist that doesn’t have information on the subject.
In effects, the great majority of the guitars are built in Rosewood, certainly known for his good acoustic characteristics in performance. Generally it is classified according to the origin, that can be Indian or south-American.
The Indian Palissandro, is today the more used for his shown stability in the time and for the resistance to the climatic alterations and to the tensions. Great contemporary authors have planned their production with this material, for examples Fleta, Frederich, Romanillos. Its brown coloration dark extending to the violet one, often has a regular and linear growth. Among everybody, it is the most neutral material and, therefore, it does not characterize the sound colour of the instrument.
The South-American Rosewood of Brazilian origin, without doubt is technically the most interesting wood respect the parameters of acoustics characteristics. However its brittleness (fragile) makes it particularly problematic in the climatic changes and obviously very sensitive to the bumps.
To retrieve this material, that for a long time one of the most expensive, becomes today very difficult and very expensive: in fact, from some years it’s a protected wood, available only by little authorized retailers.
Very beautiful to visual level, with sometimes an irregular growth that determines the formation of real masterpieces of the nature as sketches of growth, it has a variety of colorations from the light brown up to the brown dark extending to the black.
For a long time the most desired wood from the great Spanish Master of the past. strong acoustic reflection and therefore possibility of sonorous projection, crystalline colour stamp.
The maple of the Balcani is the wood used for a long time for the arc instruments and it is perhaps the most classical expression among everybody. Many people in fact, inclusive some of the great Spanish teachers, sustain – now and in the past – that the real classical guitar sound, must be in maple back/sides guitar.
Very beautiful aesthetically, after painting it acquires a yellow / orange amber color; it often foresees a sharp pain frequency of “flames” perpendicular to the veins of growth that make it strong and very reflecting. It specifically characterizes the guitar with a sweet and round colour stamp.