Another one is the back carved, shaped and toned as Stradivari or Amati used to do. The back can be made also like the traditional one, flat and braced.

In my guitars the back vibrates together with the soundboard, enriching the sound with its own harmonics. In the classical guitars, the back has only the task to reflect the sound wave, generated from the table and to close the sound box determining the air volume.

As on my table there are no tranver bars, through the soundpoasts, the back gives the defective energy through the soundpoasts.

The neck can be join to the body of the guitar as used in the Spanish tradition, with the sides clamped between the hell and the foot of the neck, and looks like a traditional guitar, or fixed with a dovetail.

In this case the fingerboard does not touch the soundboard since the 14th-15th fret to the sound hole, letting the table freer to vibrate.

Touching the back, the players with his body absorb vibrations and take away energy, so that I make a shell using wood and carbon fiber, interposed between the instrument and the body of the player letting the instrument free to vibrate.

To varnish I use only shellac.

The soundboard can be of spruce or cedar.

The back of maple, cypress and different kind of rosewood (Indian, Brazilian, Honduras, Cocobolo, Madagascar). The neck is of Cedrela of Mahogany. The fingerboard is of ebony.