Inside the Workshop: Talking with Fernando Mazza (Part 2)

At Alba GB, our conversations with Fernando Mazza always feel like catching up with an old friend who happens to know everything about guitars. After our last deep dive into traditions and construction choices, we picked up where we left off, this time getting into the unpredictable world of wood and the fine art of building double-top guitars.

Alba GB:

Where I come from, we have a saying: “You can’t make a fiddle from every log.” And we both know that’s very true when it comes to guitars. Tell us, Fernando, have you had any disaster stories with materials that looked perfect but didn’t perform once turned into an instrument?

Read Also: Inside the Luthiers Workshop: Talking with Fernando Mazza (Part 1)

Fernando Mazza:

Let me put it this way: we can have the finest wood in the world, but if the work isn’t done properly, the guitar just won’t sing. And sometimes, with more modest wood but good craftsmanship, the result can still surprise you. 

Now, when you get both top-quality wood and top-level work. That’s when magic happens. Of course, in my early days, I managed to ruin some truly beautiful tone wood, honestly, I think a few trees still hold a grudge! But that’s how you learn – hahahaha!

Alba GB:

That’s fascinating. So, when it comes to double-top guitars, you have even more layers and decisions to make. Could you walk us through what materials you use and how you build a double-top?

Read Also: Double Top vs. Traditional Top Classical Guitars: Construction and Tone

Fernando Mazza:

 Sure. A double-top is basically a sandwich: two outer layers of tonewood with a very thin layer of balsa wood in the middle. For the outer woods, I usually choose either very lightweight spruce or cedar, depending on the voice I’m aiming for. The key is making those outside layers extremely thin — much thinner than in a traditional single top — but still keeping them responsive.

The balsa wood gives the structure stability and strength without adding much mass. It allows the top to be incredibly light and flexible while still handling string tension. It’s a very delicate process because if you make the skins too thick, the top loses sensitivity; too thin, and you lose support and control. Finding that balance is everything.

Fernando Mazza:

Exactly. Double-tops are not just about volume. What they really offer is dynamic elasticity, meaning the guitar can respond to very soft playing and still carry the sound, but it can also handle very strong attacks without collapsing or breaking the tone. You can explore a much wider range of expression.

Also, because the top moves more easily, the right-hand technique becomes even more important. Players who control their touch and dynamics well can get amazing results. But if someone plays too heavy all the time, the guitar doesn’t have the space to sing — it can feel closed.

 Read Also: Classical Guitar Armrest: Comfort, Protection, and Superior Sound

Alba GB:

So, would you say a double-top needs a slightly different playing approach compared to a traditional guitar?

Alba GB: Players often hear about double-tops being “louder,” but there’s much more going on than just volume, isn’t there?

Fernando Mazza:

Yes, absolutely. With a double-top, you should trust the guitar more. You don’t need to push it to get sound. In fact, it rewards players who use minimal energy and fine control. Light touch, good phrasing, and sensitivity to the strings bring out the best in a double-top. It’s a little like working with a very fast, sensitive race car — you guide it rather than forcing it.

Once players adjust their technique, most find they can play longer, more effortlessly, and with more color choices than on a traditional thick-top guitar.

Read Also: How Plastic Guitar Beads Improve Classical Guitar’s Sound

Alba GB:

Earlier, you mentioned how critical it is to trust your instincts with materials. Has this experience changed how you choose woods now for double-tops versus traditional builds?

Fernando Mazza:

It's changed completely. When I was building traditional guitars, a long time ago, I looked for woods that had a good combination of strength and elasticity in the same piece.

For double tops, I prioritize woods that are extremely lightweight but have good flex. The outer layers have to behave almost like thin sheets of glass: move easily but withstand vibrations without breaking.

I'm also very careful when designing the balsa wood structure that sits between the two tops because small variations greatly change the way the top breathes. With double tops, minimal changes in material selection have a huge impact on the final sound.

Read Also: The Evolution of Classical Guitar Supports: Steadiness, Innovation

Alba GB:

Some players wonder whether double-tops lose the traditional “soul” of the classical guitar. What would you say to them?

Fernando Mazza:

That’s a very good question. I think it depends on how the double-top is built. If the builder respects the traditional tonal goals, a warm voice, rich harmonics, and strong sustain, then a double-top can absolutely sound like a real classical guitar, just with more freedom. If the builder only chases volume and speed, without thinking about tone quality, then yes, the guitar can lose its character. 

For me, it’s always about balance. A good double-top keeps the beauty and complexity of traditional sound but adds more control and power for modern concert needs.

Alba GB: This has been an incredible conversation. I think players are going to love hearing your thoughts from inside the workshop. Should we leave them with a little hint of what’s coming next?

 

Fernando Mazza: Maybe we can say that next time, we’ll talk about the bridge between design and interpretation — how building choices shape what a player feels and expresses. That’s something I think about a lot lately.

 

Alba GB: Yes, and next time, I’ve prepared even more thoughtful questions to dive even deeper. See you all in Part 3!