A centenarian tradition.
The characteristics of these guitars arise from the traditional specifications of a Spanish guitar, which results, beforehand, a very generic definition, so the great development that this instrument has received throughout years has been very prolific. For many years, a huge number of luthiers have developed many variations with a lot of different characteristics and virtues. In the worldwide outlook of guitars, we can see different schools and construction tendencies which it has been very benefited from.
Guitar player artists school from Granada goes back to the XIX century, where the instruments made in this city became to stand out, and it has been continued without interruption until nowadays.
"> A centenarian tradition.
The characteristics of these guitars arise from the traditional specifications of a Spanish guitar, which results, beforehand, a very generic definition, so the great development that this instrument has received throughout years has been very prolific. For many years, a huge number of luthiers have developed many variations with a lot of different characteristics and virtues. In the worldwide outlook of guitars, we can see different schools and construction tendencies which it has been very benefited from.
Guitar player artists school from Granada goes back to the XIX century, where the instruments made in this city became to stand out, and it has been continued without interruption until nowadays.
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Flamenco and Classical Guitar
Granadian guitar and its construction. A centenarian tradition. The characteristics of these guitars arise from the traditional specifications of a Spanish guitar, which results, beforehand, a very generic definition, so the great development that this instrument has received throughout years has been very prolific. For many years, a huge number of luthiers have developed many variations with a lot of different characteristics and virtues. In the worldwide outlook of guitars, we can see different schools and construction tendencies which it has been very benefited from.
Guitar player artists school from Granada goes back to the XIX century, where the instruments made in this city became to stand out, and it has been continued without interruption until nowadays. Today, the construction school of guitars in Granada is one of the most important of the world thanks to the great builders who have been there and the maintenance of its own style, where the influence of fashion tendencies, usually temporary, has had not so much impact on it.  This is the reason why the Granadian guitar has very defined characteristics, known by specialists, valued for guitarists and they have permited a constant developement and a refinement which has become this guitars to ones of the most worldwide highly regarded.

Woods: Wood is our raw material, the element in which we make use of to give shape to a new instrument and, without a doubt, where a big part of our experience, knowedge and constant learning is trusted. It is essential to have a good wood warehouse, previously selected, where you can exercise control over the wood throughout the drying time before being in optimal usage conditions. Sound quality, durabilty and stability of the instrument are due, fundamentally, to two elements, in relation with wood. Pieces quiality, something essential, and a right storage time; also to the correct drying time, which is, under my opinion, divided into two phases. The first one is the initial drying, which is very conditionated by the wood moisture when this is purchased, this period is usually short; and a second phase where the wood is put down to a long time, as long as possible, under humid conditions and controlled temperatures which provide us with an acceptable stability levels in the face of changes in the ambient conditions. 
This will guarantee us that the instrument is not going to suffer aesthetic or mechanical changes during its lifetime. There are some ideal climatic conditions of humidity levels between 40% and 50% and an ideal temperature of 15º to 30º C, this would be the most appropiate and the user must take this into account, in any way, to protect the instrument against strong changes of these conditions. Obviously, these ideal conditions are in many cases difficult to achieve and it is inevitable to expose the instrument to a different ambient conditions, but in these cases, it is necessary to protect it, as well as possible, from abrupt changes in the ambient conditions, so the isntrument is capable of accept slowly these variations and have a good reaction. It is very important to become aware of this question and, for instance, it is the same as keeping the instrument in its case, or avoiding the sun or storing it in spaces with high temperatures as car boots, wet zones etc... examples that deal with the common sense of the user at last. Not following this basic rules can produce undesirable loss of shape in the instrument and, of course, reduce its life. These are the woods which my instruments are made up of. Indian rosewood, Pau ferro, Cypress, exotic Ebony, European Walnut tree, Cocobolo, bogote Mapple, etc... top-quality for bodies and heads. Ebony in the fingerboard and heads. European spruce and top-quality cedar for soundboards. Top-quality cedrel for the neck, the back part of the neck and for the reinforcement. European spruce for the harmonic bracing system. Reinforcement of heads and bars. Sycamore for borders, rosettes and decorations. 
Construction morphology. The philosophy of the construction is completely handcrafted, using a lot of old techniques, former tools and natural products. For me, as a constructor, I like to print in my creations a lot of the Granadian school guitar constructors guidelines, that give special characteristics to their products, which so many awards have achieved in the worldwide guitar outlook.

It is individual and single. When the construction of an instrument is presented in a handcrafted way, lots of elements are taken into account. The wood used in these cases and its sound characteristics must dictate many of the conditions when you face the construction and the guitar maker has to add all the constructive determinants in order to achieve the objective, ultimately it is a route whose end is to obtain what it is seeked, applying its experience, knowledge and skills acquired. Therefore, the objective must be to create a unqiue product, refined and with shared personality between the constructive line of its creator and the own and only virtues of each guitar. In all of my creations, I have always obtained to keep this spirit of exclusivity and individuality, trying not to repeat a job, they always have variations, at least aesthetically, although I have always follow a line giving a recognized appearance between them. Following this line, the finished touch could not be differently, and I resume these original judgments, using the French polish, applying the technique of crankpin polish handmade, very labourious that require a long period of work.
This finished touch of varnish, as well as having a very rooted tradition present in the best instrument worldwide outlook, it is very appreciated by the musicians, improving the sound response and the transpiration of the instrument, giving a constant improvement throughout time.