Granada Model (since 2017)

My use of the title Granada requires an explanantion and a grain of salt. This model is in no direct way influenced by what is sometimes called the Granada school of guitar making, for there is actually no such thing in any organized way. The makers of Granada come from diverse backgrounds and all follow their own design principles, not necessarily similar to each other's. What one can say in general is that since the mid 80's, the best instruments of Granada (significantly influenced by those of Antonio Marin after his association with Robert Bouchet) reflect a break from the larger mid to late 20th C. Madrid instruments, evidencing rather a re-examination of the origins of the modern guitar and the principlies established by Torres and others.

Having been originally influenced by Spanish guitars of the 60's and 70's, I later experienced the same kind of evolution and renewed understanding of older traditional guitars. When I returned to building again in Berlin (my own second epoch beginning 2009), I began to base my designs more closely on the principles of Torres and the generation of makers who followed him into the early 20th C. In this way, I think it is appropriate to use name "Granada" to indicate the direction I took in arriving at this model. The Granada model uses my own plantilla, developed over a long career and revealing a mixture of elemental shapes of Torres, Hernandez and others. I have also returned to a simpler architecture and internal bracing reflective of Torres. The result is a lightly made guitar of exceptional clarity, definition, response, power and sustain with a rich and complex pallet of color and overtones.

Santos Hernandez Model (since 2019)

The Hernandez model was developed in the beginning of 2019. The plantilla and other elements of the construction are based on a 1931 Santos Hernandez which belonged to the Romero family - possibly originally to Celedonio but eventually to Pepe Sr., who reputedly played this instrument for Pepe Jr. when he was in the womb and after his birth, thus "playing" him into this world. The Hernandez, like the Granada model, offers exceptional power, definition, sustain, and brilliance combined with a very Spanish flavor, and with an explosive quality in attack. My flamenco guitars are also based on the instruments of Santos Hernandez, who was well known additionally for his excellent flamenco guitars.

Manuel Ramirez Model (since 2021)

The Ramirez model was developed in late 2021 as a project I undertook to reproduce 2 additional historic guitars (besides the Hernandez model) which are an important part of the heritage from which my building derives. This model is a very faithful reproduction of the Manuel Ramirez classical of 1912 (ascribed in large part to Santos Hernandez when he worked in the shop of Manuel), which was presented to the young Segovia and was later the basis for the guitar made for him by Hermann Hauser I. My Ramirez model follows the architecture, internal bracing, weight (and resulting wood thicknesses), as well as the general decorative and aesthetic aspects of the original, thus offering a close rendition of what the original might have looked, played and sounded like when it was new. Like the later Hernandez guitars made under his own label, this Ramirez model is bright and incisive, with excellent balance, clarity and an explosive attack.

Antonio de Torres Model (since 2021)

The Torres model was developed in late 2021 as part of the project I undertook to reproduce 2 additional historic guitars (besides the Hernandez model) which are an important part of the heritage from which my building derives. This model is a very faithful reproduction of the 1860 Antonio de Torres guitar, reference number FE13, which was one of the Torres guitars owned by Miguel Llobet and which later came into the hands of Hermann Hauser I, subsequently becoming the basis for many of Hauser's own models. My version precisely follows the architecture, internal bracing, weight (and resulting wood thicknesses), as well as the decorative and aesthetic aspects of the original Torres, thus offering a close rendition of what the original might have looked, played and sounded like when it was new. The instrument possesses a lush and clear sound, with excellent balance, power and sustain, and a tonality distinctly evoking an older era.

Classical Crossover Model (since 2020)

The Classical Crossover model is designed for the stage artist who needs to play plugged and with modern jazz ensembles. It has a cut-away side enabling easier fingering in upper positions for finger-style and new music. This instrument is typically also provided with a high-end blend pick-up system (piezzo and mic) and on-board preamp. These instruments are nonetheless still constructed in traditional Spanish method, with volume, response, balance and clarity ideal for unamplified concert performance. They are still based on one of my historic or modern models (Ramirez, Hernandez, or "Granada"), and can be constructed according to the artist's preferences of tonality and playability.