The soundboard is, in my opinion, the single most important factor in sound production. Special care and attention is given to the selection and treatment of the soundboard, because a fine and well-seasoned soundboard is absolutely crucial to achieving a great tone. 
               I use only European/Alpine Spruce for the soundboards of my instruments. I believe Spruce is superior to Cedar in tone production and the overall projection of an instrument, and thus only use the finest spruce available to me. Spruce soundboards are generally said to require time to "play in" and mature to their full potential. While it is true that the guitars become better sounding as they are played over the course of several years, I am achieving excellent results from the very beginning. I am after a distinctive clarity in my instruments, as it is the clarity that makes an instrument project. I have been unusually lucky in being able to acquire good Alpine Spruce, and I expect to have it in good quantity for the rest of my life.

Alpine Spruce –- Picea abies

The Spruce used for the soundboards in my guitars comes from the European Alps – mostly Austria, though I use spruce from Italy as well. I feel Alpine Spruce soundboards yield the finest guitars. A well aged and seasoned soundboard of this variety will produce a guitar that has a fine complexity and clarity of tone with substantial headroom and unsurpassed dynamic range. In short, it produces a very musical and expressive instrument. Alpine Spruce is known for the wide range of tone colors it makes possible, and is considered by many the “holy grail” of tonewoods. I use only the finest soundboards available, and have these in good supply – some of which have been seasoning since it was cut over 50 years ago, such as the soundboard pictured.
 

Back and Ribs:
 

The materials used for the back and ribs are a substantially less important factor in the tone of an instrument. Such a statement is difficult for many to swallow, and I have worked hard to come to some kind of understanding just how much of a difference the back and rib species make in the tone. Often someone picks up a guitar and tries to equate the tone of the instrument with the back and ribs, erroneously disregarding the soundboard and other valuables. The treatment, bracing, and design of the back is important and must vary with different species, but I believe any reasonable species of timber can be used for the back and ribs to good results. With that said, my guitars are made only with traditional timbers of high quality.

 
 
Indian Rosewood – Dalbergia Latifolia

Indian Rosewood is the standard back/rib wood used in my instruments. I feel it makes every bit as good a guitar as Brazilian Rosewood, is significantly more stable (less possibility of cracks), and is readily available in the best quality. Pictured above.
 
 

Madagascar Rosewood – Dalbergia Ballroni

Madagascar Rosewood looks very close to the best old quartersawn Brazilian Rosewood. It makes a superb back and rib wood and is aesthetically stunning. Something of a new comer to the world of rosewoods, it is gaining in popularity rapidly. It finishes to a beautiful brownish orange and in some cases presents the same kind of black line "spider-webbing" as we've come to know from the best quartersawn Brazilian Rosewood. The quality available is excellent.

Traditional back/rib wood which, in suitable quality, is now in very short supply. I offer this wood for those who want the most dramatic look. There is a wide range aesthetically in different boards of Brazilian Rosewood. I have a decent supply of this, from the dark variety pictured to the more orange-ish kind similar to the madagascar rosewood pictured above. Brazilian Rosewood is the traditional rosewood used on most of the old Spanish instruments. It have been for the most part replaced by Indian Rosewood which is available in better quantity in instrument grade quality. I am however, always on the hunt for old Brazilian Rosewood to resaw for guitars. Brazilian is the best choice of timber for bridges, though Madagascar Rosewood makes great bridges as well.

Spanish Cypress – Cupressus Sempervirens
 
 
While generally associated with flamenco guitars, Spanish Cypress is an excellent choice for classicals as well. Its been used for hundreds of years in the making of musical instruments, and has every quality of a top notch tonewood.
          I approach a Cypress guitar differently in comparison to flamenco guitar makers. I leave the wood a bit thicker. It produces a wonderful, almost haunting tone, with immediate responsiveness and (particularly when coupled with a tornavoz) a great deal of sustain. It is light in weight, beautiful, and retains forever a very pleasing smell. I have had excellent results using this wood and it has become my personal favorite.