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The construction begins with the preparation of the woods for the back and sides (Image #1). These are sanded to approximately 2.5 mm. Thinning goes up to 1.3 mm with the optional lattice bracing (Image #26). The final thinning is done in steps with a plane and a scraper (Image #17). The luthier will be able to tell which piece of the back and sides goes where only after scraping, planing and sanding. A caliper is used to check the thickness of the woods and thus, avoid going beyond the optimal point. Joining the two halves of the top requires experience and precision in order for the 2 parts to match perfectly (Image #2-3-4-5-6)

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When the 2 halves are joint, the builder begins a long period of tapping, scraping and planing in order to bring
the top to its maximum resonating thickness (Image #7) . A sound which is a B-Bb in pitch. Usually thickness goes from 1.7 mm in the outer fringe of the soundboard to approximately 2mm towards the center. These numbers vary slightly from one top the next.  The rosette inlay is prepared and the rosette is mounted (Image #8-9) . The fan brace is glued in a special gadget that pushes the top (Image #10), the bridge reinforcement and the braces into a concave surface. This is what will give the instrument the necessary curvature to counter the pull of the bridge and keep it under tension for optimum production of volume. We use the same "pressure system" for the Doble tapa Contraras style. Concert instruments have very thin tops and without the curvature they would give in to the pressure created by the bridge. Acrylic struts are used to create pressure. They push the fan brace and the top in the concave surface where drying of the glue will occur leaving the dome shape as a result (Image #10a-10b) The sides are bent with a heated iron (Image #12 )and a special solution. Preparation of the struts and kerfs for the assembly of the back, sides and top begins (Image #11-13).

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The sides are mounted in the guitar chair (Image #14) in order to achieve the symmetrical shape of the instrument perfectly.
The halves of the back are joint (Image #15-16-17-18) and lacquered  (Image #19) . We lacquer the inside of the guitar as well, to preserve the humidity, protect the woods and make cleaning of the inside easier (Image 18a).  The fan bracing of the guitar is assembled (Image #22-23).  The top is ready to be glued. Reinforcing struts are placed under the top in order for these to withstand the tightening of
the rope which will follow (Image #36). A tight rope that crosses several times over the top of the instrument ensures a perfect
bonding of the sides with the top (Image #15-16. This is quite a dramatic scene and the guitar parts are literally being fused into 1.  3 days have passed since we started construction. Parts of the neck are already prepared and assembled

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The fan bracing we use is the one from the 1943 Hauser (Image #23). After the final tapping (Image #7) and sanding (Image #50), the top is examined looking through a 40 Watts light bulb (Image #25-26-27). If the thinning was good, light will pass through the wood.  The light passes through very easily in the lattice braced tops.  In the picture above where I show the double top against the light (Image #27), you can appreciate the Nomex cells (Image #28) that show against the light... Double tops allow the top to vibrate fully achieving a sound that instead of dying immediately, is sustained and then released creating a huge reverb ... on the digital db meter, double tops can push the needle up to 93.3 dbs (as a reference, keep in mind that seasoned Contreras and Ramirez guitars seldom reach 90). One of my newest Ziricote/Spruce peaked 93.5. Depending on every construction project we incorporate techniques borrowed by other world famous builder and also incorporate some of our own great breakthroughs like the use of cedar and spruce for the bracing to augment the brilliance of trebles and the depth of the basses... The doble tapa (Image #28a), was developed and introduced by  Master Luthier Manuel Contreras the II at the end of the 70s and reached its peak in the 80s. The word "Tapa" in Spanish translates to top in English but it refers to the back of the instrument. Therefore, Contreras doble tapa is actually a "Double back". He developed a few variations. 

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Ramirez picked one of these variations and I played a Ramirez doble tapa which incorporated this system. I studied the Doble tapa closely because it is in the hands of my dearest teachers (Sila Godoy). He asked me to go with him when he purchased her in 1984 -I was in Madrid studying with Andres Segovia and Narciso Yepes-. I can proudly say that we finally came up with a guitar that totally eclipses the Ramirez and I am sure would make Contreras tremendously proud. The second cedar top is halfway between top 1 and the back. It unites to the first top through transversal struts and the sides. The vibration starts on this top a fraction of a second later than on the first top and the result is a fabulous sustain and a tremendous punch. Fast reaction to the player's plucking and great palette of colors. My son, who is always near me when I make the videos, was struck by the power and beauty of sound that she produced as I was playing Romance. I loved the way she responds and the system is a TOTAL WINNING one. The only drawback from a builder's point of view is the tremendous amount of time it takes to build a single instrument. Still, I make a point in offering her at a down to Earth price to allow as many players as possible to consider purchasing her. (Image #24-24a). The sound spreader is the perforated piece of wood that transfers the vibration from the top to the A frame and to the sides...this makes for a much fuller sound and is a Bellucci creation that we mount whenever we feel that the top will benefit from it (Image #24b). You can also see the blackwood reinforcements in the under bridge area to allow for stiffness of the super-thin top.... In the same picture, you can see the mid transverse strut made of Mahogany and linked to the top and sides by means of a cedar cubicle.... This is a Manuel Contreras II invention and acts like a sort of violin alm. The transfer to the sides and back is more intense and the structure is kept steady more efficiently resulting in most of the energy being transmitted to and by the top. This in turn, translates in  an impressive punch. 

• The optional Violin tie: (Image #29a) The tailpiece on a guitar is called for just as it is on every other member of the strings family (violin, etc.). When the first classical guitars were built, gut strings were the norm... the tension on these was nothing compared to modern nylon strings. A tailpiece was redundant... Anchoring the strings to the lower bout meet point, which is one of the sturdiest parts of the instrument, allows the builder to thin the top more allowing for  a much bigger sound and not recur to the use of carbon fiber (Smallman and others) that give the guitar a "plastic sound. ". I recommend the violin tie on Double tops and lattice guitars and the default construction of these carries the tie.
• Regarding 650mm or 640 mm guitar construction, keep the following rule at hand: If the distance between the tip of your thumb and the tip of your little finger is equal or less than 9 in. when fully stretched, use 640 mm (image above). In over 33 years teaching and playing the classical guitar and having worked closely with such great teachers as the Spaniard Jose Tomas and the Uruguayan Abel Carlevaro, it came clear to me that often hard to polish musical passages were not the fault of the player but a fault of the scale used for the fingerboard. Modern guitar construction is no longer dependent on scale lenght to produce a substantial volume. The only exception may be the double top that needs at least 640 mm to resonate fully. When we talk about scale lenght we are talking to the relative distance of the frets from one another... we are talking millimeters or fraction of a millimeter, but it is these fractions that make all the difference between flawless and sloppy technique....let alone the great frustration that derives from never being able to polish a given musical passage.

The top of the guitar is like the vocal chords on a singer: crucial ! I pass the tops signing each one and I also add the date (D.O.G. stands for  Deo Omnis Gloria, All the glory to God) (Image #29) I was taught from an early age to offer Him the fruit of my labor. I constantly ask myself: Would God like this instrument? Preparation of the neck begins (Image #20).

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The struts that hold the back are filed and glued to the kerfs and linings (Image #28) . Note the slight dome like curvature (Image #33-34-35). (See also Bellucci Phase 3 concert guitar enhancements) Both the top and the back of high end concert guitars are slightly curved like a dome. This is to counteract the forces of gravity that would otherwise push both the top and the back into the guitar body and to create a larger reverberating volume of air. The reinforcing spruce pillars that will withstand the pressure of the ropes during gluing (Image #38) are put in place (Image #36). Only the master builders can perform this task, usually in pairs (Image #37). The doming of the top is more pronounced in lattice and double top construction.

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Glue is applied and the rope is tightened (Image #38). A few hours later, the guitar is free (Image #39) to enter the final phase of
construction. The guitar soul, it's sound is complete when the guitar is removed from the construction seat.
I tap the guitar all around to check on her character. The sound is already blossoming... The route for the bindings and the purflings is carved all around the top and sides (Image #42) . I use some gorgeous and rare Paraguayan, Asian and African species of wood to decorate parts of the head, bindings, bridge and armrest of the instrument. The frets are mounted (Image #46) and the seat for the nut bone is prepared (Image #49). Construction of the bridge and the head begins (Image #47). We are into day 6 of construction.

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The bridge is carved (Image #48) just like the neck. The mother of pearl applications are presented (Image #48) and the place where the applications will be inlaid is carved. The guitar is ready to be sanded. Protection breathing gear is used (Image #50)  because some woods expedite powders that can be harmful (African Blackwood, Brazilian rosewood...). The guitar is ready to be finished. We  apply the wood pores sealer with a brush and the lacquer with a small compressor (Image #52). Finish is not merely aesthetical. The finish defines the sound of the instrument. Although we buy the lacquer commercially, we have a special (secret) formula of dilution products that we add to the final mix. With Rosewood, I sometimes color parts of the back and sides to mask worm holes and other imperfections of the wood and help match back and sides to perfection.  The final adjustment of the guitar is up to me (Image #51). It consists of 2 steps: 1-when the guitar is ready for lacquering, I secure the bridge in order to string her and adjust the  soundboard and bridge for perfect tuning (intonation) (Image #51). This is the first time the guitar amplifies the plucking of a string. 2- I tune the guitar and insert my hand in the soundhole to fine tune the struts of the top in order to achieve the best sound, and equilibrium of the voices (Image #54) . This is done after lacquering (Image #53) because the lacquer usually increases the pitch of the instrument. Having followed the construction plans very closely, makes this a labor of microns of a millimeter type of adjustment where very small amounts of wood are filed from the struts. I glue a small piece of sandpaper to the tip of my index finger to get the job right. (Image #54)

I am slowly but steadily relying more on them because the business has grown to a point where I literally cannot cover all angles... Paraguay has a long tradition in guitar construction, a skill that the Jesuits brought with them from Spain in the 16th Century, but there was no tradition in exporting quality concert instruments until I appeared on the scene in 2004. I already had my 7th child by then and decided to put my Concert Career on hold... I was coming from playing over 80 concerts a year and I was tired... My online lessons recruited literally thousands of students and I was making a very good income doing what I loved the most without leaving home. It was a group of these online students from the US that asked me to have guitars built for them... I was reluctant at first, but eventually, decided to go for it ...

At the beginning, I had no contact with the builders whatsoever because a type of local Mafia stood between me and each builder... I did not even know the names of the luthiers that were working for me...This situation lasted for the best part of the first 2 years. My building instructions were passed on to the builders through a third party. The builders on the other hand,  were also kept in the dark as to who was giving them so much work. I was tremendously frustrated because my vision of putting Paraguay on the World class instruments map was being challenged. I knew that I had to deal with the builders directly one way or another. I decided to approach an old, semi retired builder, who started working with me along with his 3 sons. The man's name was Lino. I consider him pivotal in the evolution of Bellucci guitars. 4 of my 6 master builders are either his sons or nephews.

When the previous group of builders was no longer getting work from me, they made one final effort to try to contact me...  One of my guitar labels was left in an instrument that they were touching up. The nephew of one of these luthiers had internet access.  He contacted me via e-mail and passed me the necessary data to finally contact and meet the original group of builders. Boy, that was the closest I ever got to feel like a spy in Soviet Russia !! 

Since 2007 I was able to build the workshop and provide the builders with everything necessary to put out these beauties...

As of 2010 Bellucci guitars have attained higher levels of efficiency and quality control thanks to the incorporation of my sons to the firm and thanks to the acquisition of new tools and new construction techniques that in the end benefit buyers and players.

I also had to learn how to become a business man... Knowing how to play the guitar and managing a business are 2 different things. I think I have what it takes to be a good seller but I made mistakes as I made my way. I stand by my guitars and I ALWAYS act responsibly. I have built and sold over 1,100 instruments since 2004.  Here are the rewards I rest on