In our standard models, we always choose essential shapes, in which every detail has its own reason for existing. This choice allows us to focus on the high quality of materials, woods, electronic devices and also building steps less hurried, without compromising of budget limits.
We spend a lot of time in research and experimentation to get the products whose quality is an instantly recognizable and obvious fact; and essential look is the most effective means to achieve this.
German or Bosnian maple and ”sugar” (canadian) maple for sides, backs and necks, Mahogany for necks and Gaboon ebony are our other main woods used.
Our instruments are all featured with top quality, never less than six years of naturally seasoned woods; the temperate Italian climate of Tuscany, provides us an natural “air-conditioned room”, ideal for assemblies secure and stable over time.
So much, beautiful ebony…
Pickguards, potentiometer knobs, tailpieces, bridges, pick ups rings, and everything that appears black in color is handmade from solid ebony.
It’s not just a matter of aesthetics: the feeling that gives the wood to the touch, is irreplaceable, and helps to rediscover the relationship of intimacy between the player and the instrument.
However,we gladly use plastic bindings, especially when their presence is a form of citation of some famous models of the past to which we aspire.
Pick ups, electronic parts…
For our guitars, we prefer the small factories productions, rather than the big brands, though of great quality. The “scatterwinding” (irregular, manual winding), and the high quality of magnets and wires allows to obtain products of great personality, absolute definition and balance, and the output right for us.
In Options, are available a lot of high quality alternatives…
Hand-wound Kent Armstrong floating pick ups should not be confused with the mass-produced models sold elsewhere under the Armstrong name. It was not easy to find these; they are handcrafted in a small workshop, in Vermont, and are expensive, but when we tested them, we understood why they are used by almost all american arch top luthiers… for jazz sound, they are the best!
however, only one poor quality component is sufficient, in the wiring, to make useless the best transducer in the world… therefore, we use only professional shielded wire, “orange” drop capacitors for tone, and selected, 9% tolerance CTS potentiometers.
Our part, a further optimization and selection of components is done, with tester measurement.
Hardware and other…
Never just one, but many features, each with its own specificity,make the difference…
Of course, our standard hardware and accessories are always the best offered by the market, and extensively tested, as Waverly, or Tone Pros bridges; but on request, different choices are possible according to the personal preferences of the customer.
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Genuine and selected bone for nuts, with strings slots always carefully smoothed, for tone clarity..
Jescar Fretwire, with their special metallurgical properties, for criticality of the strings contact point..
All these factors together place Acoustic Liuteria Guitars at the top of the range quality.
Wood treatment and finish
Acoustic Liuteria begins the finishing process of their hollowbodies, from inside, with a coat of Potassium Sylicate, and shellac, to seal the woods against the barometric fluctuations.Outside we treat the rough wood with animal glue very diluited. After, our standard finish is always traditional nitrocellulose laquer, and transparent, natural dyes, for colorant.
Unless the customer does not wish otherwise, on our woods you will always find thin layers of laquer; the instrument is more lightweight and bright. Some guitarists prefer, especially on the necks, a classic shellac treatment, instead of any varnish, for the tactile sensations of naturalness. A hand-rubbed, traditional de-wax shellac finish is available.