Not very original, I know. Some variation on Santos or Barbero is used by many, many makers for their flamenco guitars. It just works very well to have a very flexible bracing system and nothing under the bridge. I try to keep everything quite lightweight and even weigh the wood before I choose to reserve it for flamenco use. This picture was taken earlier this year and the guitar is now finished awaiting its french polish.

This is for the same guitar as the last post. Another of the differences in this model is the slanted cross-brace below the soundhole. Again, this does affect the sound of the guitar and I think it works very well with the rest of the elements. As you see in the previous post, the top is glued to a lining instead of with individual triangular blocks like my other guitars.

This is my Santos copy, based on a guitar which belonged to Andrés Segovia. From what I could tell and thanks to the expertise of Richard Bruné it seems that he built that particular guitar with his famous solera which allows for the back to be glued on first. Following his methods has the obvious advantage of authenticity and probably changes the sound too in a small way.