These are some of the features found on all my guitars that I would consider distinctive.

• Twelve-hole Bridge—This unique way of attaching strings at the bridge offers many advantages.  Creating tools to make these bridges was a major design project earlier in my career.
• Twist-plane Fingerboard—How do you give  the bass-E string enough room to vibrate when you’re playing with gusto but keep the treble-E string close enough to the fingerboard to let you play those lightning-fast passages?  Follow this link to find out how I make this possible.
• Advanced Intonation—Most of the world’s classical guitars don’t play in tune.  Mine do.
• The Abominable Rising Neck—You’ve played that guitar (I hope it’s not the one you’re playing now) with the string action that keeps getting higher and higher every year.
• Preventing Warped Neck—A little bit of reinforcement can give you a very stable neck…so stable you have to put a little warp into the fingerboard on purpose (called “relief” when it’s the right amount) to make the guitar play like it should.
• Attaching the Neck—The traditional method of doing this on classical guitars has serious technical and structural deficiencies.  I’ve come up with a better way, like the one used by steel string guitar makers.