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Another exceptional guitar from Tobias Berg. Materials are gorgeous including a stunning set of CSA rosewood for the back and sides, which has a silky, rich texture in the grain patterning, paired with a soundboard of spruce. The sound of the guitar is as elegant as its appearance. It has a rich and velvety quality across all registers, with very sturdy, powerful basses and smooth and creamy trebles. As we’ve said many times about this makers work, the guitar has a unique and bold aesthetic – the headshape, rosette and bridge reveal a fondness for traditional Japanese architecture which Tobias admires for its understated elegance in its usage of perfect lines and sharp edges. He has seamlessly and delicately integrated elements of this into his unique and beautiful design.
It also features his double-sided construction method. Tobias has been perfecting this method in his own guitars for many years in the quest to constantly refine his work. To see more on the technique, see our blog post for the full story. For tone, the double-sides give the guitar a deeper, almost “cathedral-like” presence to the sound, a quality we’ve only heard before in modern Friederich guitars. Tobias also reinforced the neck with a square carbon rod internally laminated with hard rock maple and titanium (unlike many makers of the Madrid school, Tobias' is invisible from the outside). This makes for an extremely solid neck without any additional weight, which enhances sustain noticeably. This guitar also uses solid lining to join the top and sides. This subtle change seems to give the guitar more punch and a faster, snappier attack with great ease in producing a great variety of tone colors. Overall, this is a fantastic concert guitar by all standards, with a bold and beautiful sound, and a unique and classy look.
