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Here are the detailed photo galleries about my guitars. Different model-names mean different designs (rosettes, colours, inlays, woods). Each model is made with the same highest level craftsmanship and body construction. You can choose double top or solid top soundboard with asymmetric lattice bracing, and of course Cedar or Spruce. The "Grande" series are complemented with elevated neck and double sides. My double tops are always Nomex based.

Formentor Grande II Double Top (Spruce & Santos)


Antico Grande II (Spruce & Santos)


Moderno Grande (Spruce & Santos)


Exotico Grande


8 String Classical Guitar with asymmetric lattice bracing


Especial Grande (Cedar & Santos)


Especial Grande (Spruce & Santos)


Antico Grande (Spruce & Santos)



Moderno Grande (Spruce & Indian)


Rojo Grande (Cedar & Indian)


Verdoso Grande (Cedar & Indian)



Woods and other materials


For soundboards you can choose between Western Red Cedar and Spruce. Most of my orders are for Cedar, but if you are searching for an awesome Spruce guitar, it's also a very good investment. For double-tops I use original Nomex, inlayed with vacuum technology.


For back & sides my standard wood was Indian Rosewood (Dalbergia latifolia) until 2017, but CITES restrictions on Dalbergia family were accepted by 2nd of January 2017. Because of that, I started to focus on "CITES free" woods instead (for example Santos Rosewood). But by the end of 2019 these restrictions were eased for musical instruments, so I returned to use Indian and Madagascar RW.

For neck wood I use the traditional Spanish Cedar (same as Honduras Cedar), or optionally African Mahogany, which is a bit heavier than Spanish Cedar, but it is almost the same in colour and grain pattern. For elevated necks I also like a more dense type of African Mahogany called Sapele with a darker brownish colour, to make a more robust sound. I use the exclusive Flamed Honduras Cedar upon special request and for an extra price.


In earlier years the finish of my guitars was basically traditional French polish, made from self blended shellac. French polish has some disadvantages because of its very low resistance to scrath, wear and sweat. Because of that, I found a fantastic recipe of synthetic gloss finish which enhances tone probably even more than shellac, and is totally wear and sweat resistant. I highly recommend that. I also developed another option of a thin natural satin-matt finish which enhances tone and helps the guitar to produce an amazingly powerful and crisp tone.

I love to use Abalone inlays, although they are quite uncommon in the world of classical guitars. I decorate my guitars mainly with Green Abalone (Haliotis Fulgens) coming from the seas around Mexico, and sometimes also with Paua Abalone (Haliotis Iris) from New Zealand. They are not endangered species and aren't on the CITES list.

I use only real stainless steel fret material for fretting my instruments. Stainless steel frets are more times durable than the traditional "nickel-silver" frets, and make better sound, too. (My fretting tools are cryin'...)

Nut and saddle are always high quality bone.




Scale length: My standards are 635 and 648 mm. Other scales (e.g. 613,5 mm, 650 mm, etc.) also can be ordered upon special request.

Nut width: 52 mm (Other widths between 50-54 mm upon special request.)

Neck width at 12th fret: 62 mm for 52 mm nuts

String spacing at the bridge: 58 mm

String height at 12th fret: Most common is E1 2,8 mm, E6 3,9 mm. It can be adjusted for personal preference. I always include at least two different saddles in the case (higher and lower).

Fingerboard side dots: You can order small side dots onto the edge of the fingerboard to any fret position. (Standards are for example 5th and 7th frets.) You can choose from real Abalone, white Mother of Pearl, brass, or cream ABS.

Machine heads: DerJung high quality tuners with finest 1:18 ratio, special metal shafts with bearings. Optionally you can choose other brands, usually for extra price.