My holidays this year took me to the wonderful Ribera Sacra in Galicia. It is known for its wines but mostly for the beauty of the landscape including forests and tiny villages with stone houses. Sadly some of those villages and houses are abandoned as more and more people move to the cities. We had the great pleasure of staying in a very special place while we were there “O Castro Art Village” and I would highly recommend it both as a place to stay as well as an inspirational place to explore for artists of all stripes. Our host Davoud has done amazing things with the abandoned village of O Castro and we had a wonderful relaxing time. He also made some great meals for us. This project is centred around the idea that creators, teachers and leaders need a beautiful space to share their gifts. O Castro homepage.

I offer this guitar as my own creation, something that I have developed over the past 30 years. However, as you can see it is very traditional and really nothing new. The five fan struts are very Torres and the very low, thin reinforcement UNDER the fan struts is pure Granada. At the same time the air volume, dimensions and thicknesses have been modified over time to get the best sound possible. I charge more for the historic copies with their added costs and special decorations but this is the guitar that I am constantly trying to improve and so is the one that I tend to recommend.

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.