Great care is taken in the selection of timber. It must of course be well seasoned and dry. Timbers are selected for their structural soundness, density, strength, appearance and tonal response. Much thought is also given to the matching of various components. This approach has yielded very consistent results.

For the top I mainly use alpine spruce, occasionally cedar.

For the back and sides I use rosewoods - Indian, Brazilian and Honduras. I also like figured maple very much, both for its visual beauty and acoustically for its warm tone and smooth attack. For flamenco guitars the traditional cypress is used.

I use cedrela or mahogany for the neck and ebony for the fingerboard. Rio rosewood is used for the bridge and head facing.

A variety of natural and dyed woods are used to make the rosettes and purflings. In the photo on the left showing the end-block inlay on Indian rosewood ribs, paduk (a natural burnt orange)and sycamore have been used with the rosewood bindings.