The back and sides of this guitar are made of pre-CITES Brazilian Rosewood – wood I bought before Brazilian Rosewood was put on the Endangered Species List. A copy of my purchase receipt is kept with the guitar, so it is legal for international trade, although I haven’t filed the considerable paperwork needed to get an export license.
This guitar is also what I call “PTE#2 = “Pushing The Envelope #2”, an instrument in which I explored the limits of current lutherie technique. (PTE#1 is the Malaysian Blackwood guitar in which I explored the use of a thin and narrow fretboard, almost a steel-string neck, with a Classical guitar.) For this guitar, I thinned the master-grade German Spruce soundboard to the limit of structural integrity. Since the soundboard uses my proprietary Projection Tuned™ BRACELESS “double soundboard” design licensed from RainSong, the result is a guitar with power and a very bright, balanced tone. It is an excellent guitar for traditional Spanish playing, and is also a fine Flamenco Negro instrument.
The fretboard is Madagascar Ebony with a 660mm scale length. The bridge is Brazilian Rosewood and the headplate is Amazon Rosewood, with an inlay of my "JAD" logo done by Bordeaux Inlay & Design. The neck and peghead are Spanish Cedar -- not as thin as a hardwood neck, but thin and flat by classical-guitar standards -- and it is fitted with Gotoh Gold-plated tuning machines with Ivoiroid buttons. The peghead uses my proprietary Rear String Slot design; and the heel has my signature Abalone heelcap. The inside of the soundboard is signed, dated and numbered (#11) by me.