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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. A sound which is a B-Bb in pitch. Thickness of the top usually goes from 1.7 mm in the outer fringe of the soundboard to approximately 2 mm towards the center. These numbers vary slightly from one top the next.  The rosette inlay is prepared and the rosette is mounted (Image #7-8) . 

The fan brace is glued in a special gadget that pushes the top (Image #9), 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 Contreras style. Concert instruments have very thin tops when compared to factory built guitars and without the curvature they would give in to the pressure created by the bridge. The acrylic struts you see in figures 9 and 10 are used to create the down pressure in the receiving concave surface. They push the fan brace and the top in the concave surface where drying of the glue will occur leaving behind the dome shape as a result (Image #10a) 

The sides are bent with a heated iron (Image #12) and using a special watery solution to spray the wood. Preparation of the struts and kerfs for the assembly of the back, sides and top begins (Image #11-13). A lot of experimenting is invested in the choice of the strutting and general structural woods that are used inside the body of the guitar. Spruce, Mahogany, Balsa and Cedar are used in a myriad combinations to achieve different results and depending on the type of construction.
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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 of the guitar easier. Only a handful of builders worldwide offer this special treat (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 cotton rope which will follow (Image #36). A tight cotton 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 9 fans 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 with Nomex -also known as hollow top- against the light (Image #27), you can appreciate the Nomex cells (Image #28) that show against the light... Double tops in general 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, mahogany balsa 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 double top VARIATION 1, was developed and introduced by  Master Luthier Manuel Contreras the II at the end of the 70s and reached its peak in the 80s. In this Variation of the Double top, a second top is located halfway between the main top and the back. It is held in place by means of little Mahogany bridges located above and below the second top along the inner part of the sides (frames 1 & 3). The second top rests on the upper bridges and once it is glued on each little bridge (frame 2), a second bridge is glued on top of the preceding corresponding bridge below the second top (frame 3). This second top vibrates a fraction of a second after the first one creating an immense sustain and punch using the air moving inside the body and thus creating a multiplying effect of the sonorous waves. The double top V1 also reduces wolf notes to a minimum 

I offer the option of lattice without the tie for those looking for a more standard looking guitar... still, most buyers request that I mount the tie for aesthetically reasons  and because it prolongs the life of the top exponentially. When I build without the tie, I use 2 African blackwood crossed reinforcements in the lattice brace.

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. 

You'll read a lot of nonsense regarding the type of finish that best suites a classical guitar. My nonsense at least, will fit in a nutshell: 
It is essential that you know that the type of finish will not make any difference whatsoever on the type of sound your guitar will produce. All finishes elevate the pitch of the instrument a little (most people will not notice the difference). The finish was first introduced to bring out the grain in the woods and offer some type of protection against the elements. The most luxurious type of finish today is Polyurethane. It is also the most laborious. It requires a lot of space, air compressors,  protective gear to apply and luthiers willing to do a lot of sanding and clean up work. This is the main reason why most European and US builders will try to convince guitar buyers that French polish is better, bla bla... It is not ! It is easy to apply and requires little or no infrastructure and practically no space to work and, since most US and European workshops are small, it fits Northern hemisphere builders to perfection. 
French polish offers very little or no protection at all. I owned 3 instruments that were French polished and as soon as I could change the finish on them to Polyurethane, I did so. Unfortunately, due to the little protection that French polish has to offer, the woods were no longer as beautiful as they were originally...sweat had stained parts of the guitar and in some places dirt accumulated to a point that it changed the overall appearance of the instrument.

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, we sometimes color parts of the back and sides to mask worm holes and other imperfections of the wood and achieve a perfect match of the back and sides. The final adjustment of the guitar is up to me (Image #51). 

It consists of 2 steps: 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)