The process

This model is aimed at guitarists who are immersed in the dynamics of competitions and who need an instrument which is more powerful and easy to play, and which will give them confidence on stage. It is also designed to be played in chamber music contexts, where that added power will help the guitarist to mix with the other instrumentalists without suffering from the guitar’s all-too-common volume disadvantage.


But this is not all about power. The motivation for this project stems from the desire to increase volume but without losing tonal quality. This leads us to the special process for building the sound board for this model, which was inspired by studying guitars created by the German guitar-maker, Antonius Müller. His idea of a double sound board is the one that has interested me most in order to enhance timbre quality.

The result is a guitar which is more responsive, balanced and consistent, which has more sustain, is easier to control, and has better sound projection. Moreover, all of this is achieved without losing the rich timbre that makes the guitar such a special instrument. The possibility of timbre-loss was what worried me most throughout the early development of this model but whilst the sound is somewhat thinner than in the traditional model, this guitar also provides better-defined individual notes when four or more strings sound at the same time.


The use of contemporary materials such as carbon fiber and the thickness of the wood allows us to play with the rigidity and weight distribution in the structure of the guitar. This is crucial to achieve an instrument that will always give us the highest quality of tone in any dynamic range, for both pianissimo and fortissimo.

Traditional model

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