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Here you will find the detailed photo galleries of my guitars. The different names cover different designs (rosettes, colours, inlays). Otherwise all models are made with the same body construction and craftsmanship. You can choose all of these examples with double-top or solid top soundboard, with Spanish or lattice bracing, and of course Cedar or Spruce. The "Grande" series is complemented with elevated neck and double sides. My double-tops are Nomex based.



Moderno Grande




Rojo Grande




Especial Grande spruce


Especial Grande cedar




Formentor II






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 constructed with vacuum technology. For Spruce soundboards my favourite is Caucasian Spruce, which is not the same species as European Spruce.

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 use "CITES free" woods instead. Fortunately, one of my favourite woods, Santos Rosewood is not on the CITES list. Tonally it's even superior to Indian Rosewood, and it's more beautiful. So I can build a completely "CITES free" guitar to avoid export administration problems. A certification by me will be enough to travel freely outside EU.

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.

The finish of my guitars is basically French polish, made from self blended shellac. Usually, I apply the modern looking blonde/dewaxed type of shellac, but in some cases I also use a darker type for a nice warm golden/amber colour. But recently I've also started to experiment with synthetic finishes. My main concern was not to damage the fine resonances of my guitars with industrial lacquer. Finally, I found a special recipe, which doesn't affect the sound in a negative way at all. It is completely water and sweat resistant, and I strongly recommend it.

I like to use Abalone inlays very much, 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.

Nut and saddle are high quality bone.



Scale length: My standards are 635 and 648 mm. Other scales (e.g. 613,5 mm) 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

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.) I don't use plastic, only real Abalone, white Mother of Pearl, or brass.

Machine heads: DerJung high quality tuners with finest 1:18 ratio, special metal shafts with bearings.