At first sight, it could seem  like the one who gives the sound and the shape of an instrument i its maker, but the truth is that the responsible of all this is the wood. The final result depends on its characteristics and how it is worked, and this is why I think that one of the most important aspects of guitar making is the choice of the materials.

My guitars always have soundboards of perfectly quartersawn spruce form the French-Swiss Jûra mountains that has been chosen one by one from hundreds of wood pieces.

For the ribs and the back I use different sorts of woods: Mediterranean cipress, Indian rosewood, local walnut and cherry or Canadian and French maple. In some instances, I’ve cut the tree myself. Other materials I work with are central and south American rosewoods, like palo-escrito, cocobolo and ziricote.

As for the necks, most of them are made with Hondurean cedar or with central America mahogany, always with the grain direction carefully chosen, but if an ancient model needs it, I also use pine, limewood or alder.