When someone asks me what a good flamenco guitar sounds like I say: “The guitar sounds like a great flamenco singer.” I build flamenco guitars with Cypress and Spruce and give them the dry metallic voices of the flamenco singers. Every human singer has a unique voice, and so does every guitar.
The guitar maker Eugene Clark was kind and patient enough to introduce me to the aesthetics and traditional building methods of the Spanish school. He generously shared his knowledge of how flamenco guitars are constructed. By visiting Clark at his workbench I was invited to observe him perform restorations on flamenco guitars by makers such as Santos Hernandez, Gerundino Fernandez, Manuel de La Chica, Francisco Barba, Faustino Conde, Manuel Bellido and many others. Those sessions of in depth study of these masters shaped my approach to making flamenco guitars. The plantillas (outline patterns), some of rosette inlay motifs, headstocks and heel carvings are designs I use were created through close study of the work of the Spanish masters.