I make classical guitars made with attention to tone and timbrical complexity. The guitars are set up acoustically and ergonomically to meet the needs of different playingstyles and genres; be that flamenco, blues, jazz, classical, latin or contemporary guitar music.
The roots of the guitar lay in the past and I believe understanding the methods of traditional woodworks gives contemporary guitars meaning and a link to it's cultural heritage. This means that I mainly work with handtools, natural glues and finishes, and unplugged techniques, trying to understand the guitar as a witness of historical woodworking practices.
Guitars should balance volume, character, registers, attac, sustain, colourful harmonics and fat basses. It's a compromise. A guitar should also sound like a guitar. I use three different bracings to meet different preferences. These are develloped through trial and error over the years and are combined with other features that also influence the instrument's overall voice, like a double back.
Rosettes, headstock and bindings are signature features on guitars. I try to make instruments with a pleasing estethic apperance that underlines the unplugged processes that lay behind. Perfection lay in the details, but perfect details aren't perfect without imperfections. The same goes for the materials. All guitars are finished with multiple layers of schallack and/or oil, applied with traditional methods.
The first step of a great guitar is high quality woods. I use local Norwegian woods like spruce, ash, black alder, maple and cherry, but I also offer international tonewoods; rosewoods, padouk, mongoy, ebony, etc. It is important for me that all materials are from sustainable sources, and I use FSC certified lumber where this applies.
Guitarists come with different handshapes and sizes, different ears and hearing, different history and preferances. I take your needs into account when making a new guitar, so that you can enjoy a guitar that behave and speaks to you.