I am a guitar maker. I´m very passionate about reading, learning, researching, designing and building guitars. I specialize myself in classical, flamenco, and archtop ones. I am not an artist, I am technical wich produce fine tools for finest artists. In a continuing attempt to get personal self-improvement I wish to offer musicians a sophisticated guitar which inspires andmotivates to express themselves, and essentially that can strengthen their capabilities.
The constant curiosity, self-improvement, and the strengthening of knowledge make up the bases for passion I feel for my job, the most important tool that I have is my library and my patient is the greatest virtue that I was able to develop. To be truthful, make guitars is not a job for me, I feel it like a game, I enjoy it in any sense, in all aspects, guitar making is my whole life!
Making guitars professionally encompasses such matters that drove me to commit myself and to be deeply rooted in studying everything has written (and I could got) about: physical acoustics, wood technology, music and -particulary- guitar history, a little Chemistry, tool and jigs designing, basic principles of electricity and electronics, and a huge amount of hand skills as: carving, engraving, inlaying, sharpening, and finishing among others. Finally I was fortunate to learning while teaching and teaching while learning. In the other hand, the only part of the tasks that I cannot enjoy are the accounting, administrative and commercial practices. So I found someone better than me!
Over the years, this work has become me in someone even more patient, responsible, non-conformist, obsessive, punctilious, meticulous, perfectionist, measured, tenacious, creative, courious, attentive, and a professional always opened to new experiences and be willing to learn new things. But above all guitar making, mades me a better and happier person every day.
My guitars are build in traditional style,
but with my own design.
Such guitars are strong but lightly-built, carefully honed playability, aesthetically luxury designed including gold and silver deeply hand chiseled jewelry.
Despite Buenos Aires is a big city full of guitar players and guitar makers, it does not have a tradition in guitar making as occurs with Granada or Madrid, in Spain. For this reason, we have developed our own way, based on the greatest guitar makers of the history. In my case, I have designed my bracing and guitars taking concepts of Antonio de Torres, José and Manuel Ramírez, Ignacio Fleta, Robert Bouchet, Daniel Friederich, Richard Schneider, Thomas Humprey, among others. By interpreting the big masters, plus my acoustics studies and learning from my own mistakes, I developed an expertise that allows me to create an effective bracing pattern for my soundboards.
I produce tradicional instruments with current thinking, which are strong but non heavy built, aesthetically luxury designed, with carefully honed playability, and to be very equally receptive and responsive to the expresive pursuit of the musicians.
I am always searching for a sound which has genuine charm, with effective sound projection and great balanced versatility across the whole colors of the wide musical spectrum.
Since every wood is unique, I try to obtain the maximum the wood can offer for guitar attributes. I have always believed that quality comes before quantity, especially in sound. Despite I know the volume is a wanted attribute, I choose to work in the search of a well-balanced guitar with notes that achieve a deep bass, a warm mid-range, and clear singing trebles. I focused the power of sound on increasing the possibilities of dynamic range, and not on the full volume ¨per se¨
My flamenco guitars are like the gypsies from “Río de la Plata”, traditionally built with their own design.
There are many coincidences between flamenco and tango, such as social exclusion and certain heartbreaking sonority. Therefore, despite the fact that flamenco music is not the most popular in Argentina, I can clearly understand the needs of the flamenco musician and thus offer him a comfortable, agile and prompt response guitar, standing out by playability.
I always use spruce on the soundboard and I prefer the cypress to the rosewood, although I eventually use it. I only break the tradition with a luxurious aesthetic design, including gold and silver deeply hand chiseled jewelry.
Unlike my classic guitars, I look for a loud sound more than balanced ones.
I consider my flamenco guitars powerful, with a general tone which have a very short attack time, but also a very quickly decay. I work seriously to get a strong, brilliant, with great presence of high harmonics at treble, high volume in the middle frequencies and almost no deep bass. It´s a characteristic percussive sound, austere and dry but with large projection and clear sense of the quality of flamenco timbre.
The influence of Italian craftsman community of North America highlighted guitar builders like John D’Angelico, Jimmy D’Aquisto, John Monteleone or Bob Benedetto, among others.
And their archtop guitars captivated my admiration when I was young. Later, the need (and insistence) of Argentine Jazz guitarist, Daniel Corzo, motivated me to start building it.
My expertise in designing classical guitars helped myself to understand and control the acoustic functions of the archtop, and also mold the meticulous aesthetics that includes sophisticated jewerly chiseled by hand in gold and silver, ebony bridge and tailpiece, and wood binding (not plastic), abalone or mother pearl inlays and delicate hand carved soundboards.
The acoustic sound of my archtop guitars offers warmth and fatness, well balanced at all of the dynamic range.
with a full woody and deeply basses, an excellent round middle frequencies and warm and smooth trebles, and even, still punchy enough to provide good definition in all notes in any frequencies.
We are paying tribute to those great guitars makers around the world.
We have started with Torres and Friederich models, the first one is based on the most traditional Spanish guitar maker, Antonio de Torres Jurado. And the other is based on Bouchet´s disciple who became the most important French guitar builder of the twentieth century, Daniel Friederich.
These guitars are made by a high qualified team of three Luthiers. Julio Malarino usually makes the soundboards and directs the entire process controlling the quality of each task and each piece. Gabriel Keilty is responsible for the assembly process and fine details, and Martín Bortolín prepares pieces and deals with polishing.
We rely on the designs of the great builders respecting every detail, and despite we are not dedicating ourselves to the replicas, the drawings plans of the instruments were made after an exhaustive research and documentation task.
Torres. We do our best to get as close to the original Torres sound as possible, also easy action and comfortable playability. This model looks for a tone full of old-world charm, a dry, woody, textured quality of sound to every note, with an excellent balance of firm, round bass and clear, warm and singing treble. These Torres model guitars provide us with the definition of the original Spanish sound and the soul of the old tone, in our opinion.
The Friederich model has responsive and powerful sound, and balanced when playing at all of the dynamic range. We pay particular attention to the decay and overall sustain of the sound in our works. The sustain on these guitars is quite impressive and the decay is very linear and predictable. These guitars sound very consistent with a distinctive silky and velvety tone with deep basses and rich trebles.