The design is derived from guitars by Jose Romanillos, with whom I studied in Spain. While the design draws extensively from the rich tradition of lutherie in Spain, France, Germany, the United States, and elsewhere, it is informed by a modern understanding of guitar acoustics. Of particular importance is the vibrational coupling of the different parts of the guitar and interaction of the resonant frequencies. The resonances must work together to yield the desired tonal response.

Guitars with a full range of scale lengths are available. They are all based on the same design and all produce a full, rich sound.

By carefully hand-building the guitars, it is possible for me to incorporate features not available in mass-produced instruments. This provides the musician with a superior instrument and enhanced aesthetic appeal.

The Rosette
. The traditional rosettes on my guitars are hand crafted. I find that creating them is artistically challenging and one of the most enjoyable parts of building the guitars. Only the palette of colors naturally provided by the diversity of wood species is used in these rosettes.

V-Joint Neck
. This joint is used on my full-sized guitars. Few luthiers use this joint because it is difficult and time-consuming to produce. The end result, though, is worth the effort and distinguishes my guitars from many others.

The Bridge
. The bridge utilizes a secure 18-hole tie block that produces a large and consistent break-over angle for the strings and gives a nice clean look. A small ledge is provided at the back of the tie block to help keep the string ends from buzzing on the top. A traditional 6-hole tieblock is used on the children’s guitars and can be provided on the full-sized instruments.

. Each of my instruments is French polished using four natural resins to provide a durable yet thin finish that reveals the beauty of the wood. French polish is considered to be acoustically superior to other finishes and is the traditional finish for fine classical guitars.

. Both the nut and saddle (see above) are compensated to provide superior intonation.

. The ebony fingerboard is tapered to the bass side to provide greater relief for the bass strings. This keeps the height of the strings above the soundboard more uniform for greater balance between treble and bass. The fingerboard can be prepared either flat across its width or with a gentle radius