18- Adjustable Steel Truss Rod (Double Action) $ 499.00
The indented cutaway is both very beautiful and extremely useful. It requires the highest level of luthery to be made and when it comes to playability, it allows the player to access the F# on fret 14 with amazing ease thus covering the 14 most used frets in the classical guitar.
Bellucci guitars are decorated using marvelous wood marquetry to enhance all her lines and put an accent on specific parts of the construction. The marquetry requires anywhere between 35 & 90 hours of highly skilled labor to be inlayed throughout the guitar. It is made entirely by hand using knives that each luthier typically manufactures himself. It takes the guitar to unsuspected levels of beauty. The marquetry also constitutes an often critical point of release of tension which is caused by the constant expanding and contracting of the woods used in guitar construction. These are due to such factors such as humidity and ambience temperature.
The Mother of Pearl and Abalone inlay work adds amazing beauty to an
already stunning guitar. It takes innumerable hours and very specialized
hands and tools to create each inlay work. The average number of hours
invested is approximately 150 hours.
The Bellucci Limited Edition logo and label will be assigned to guitars I
build using extremely rare and amazingly figured woods in the
construction for both the back and sides and/or the top. These sets are
selected among hundreds of sets and their price is significantly higher
that the standard figured counterparts. 7 of the world best "wood
hunters" all the way from South East Asia, Oceania, Africa and the
Americas are constantly on the lookout to provide me with some amazing
sets for the Limited Edition series.
The price includes Hauser fan bracing of the top. You can select the
construction of the top to be Lattice, double top, Nomex, or a
combination of these construction types at checkout. Hauser is typically associated with the "Spanish Sound". Lattice will deliver a sound with a predominance of the Mid-high Ranges. The double top will minimize wolf notes and augment sustain. The double top can be added to both the Hauser and the Lattice.
The armrest prevents the forearm to interfere with the vibration of the top thus adding a few extra decibels to the instrument. Plus it looks great !
The Violin tie type of anchoring allows the top to vibrate generously and it also translates in ease of play for the right hand that finds the string ready under the fingertip at lightning speed.
The Bellucci Triple Neck Reinforcement (Maple-Rosewood-Maple) adds beauty and resilience to the neck allowing us to build it slim and when coupled to the Carbon Fiber Truss rod or the Adjustable Truss Rod, it ensures a beautiful and straight neck for several generations no matter what string tension or brand you use.
Typically, when I decorate the rosette with Pearl and Abalone, I match the work with touches of both Pearl & Abalone on the Bridge and/or on the accompanying Violin tie.
The Papua Abalone Rosette is simply fabulous and adds a touch of beauty to the most looked at part of the instrument.
The Ultralight Travel Case is a very sturdy and extremely light case that protects the guitar very well while allowing the player to carry the instrument without adding more weight than strictly necessary. It is covered in black plush inside and has 2 pockets on the outside and an accessories compartment on the inside. 2 Straps to carry it on the back as a backpack or over the shoulder.
The amazing skill required to embed pearl & abalone in tiny pieces of Ebony is simply stunning. The beauty of an otherwise neglectable part of the construction, suddenly comes to life.
Carbon Fiber is stronger than an equivalent volume of steel. The Carbon fiber truss rod prevents neck twisting and/or bending due to the excessive tension that many modern brands of strings bring about. It adds practically no weight to the construction and will keep your neck straight for ages.
Some Sets for either the Back and Sides, for the Top or both can be quite stunning and rare when it comes to the figure and grain that they display. It is as if nature, knowing the final destiny of its creature, "prepared" the wood in such a way that its grain, hidden to the human eye and to the world, silently develops a breathtaking beauty that comes to life when the dead tree is sawn. Getting the same identical figure is practically speaking impossible but I strive at getting figured wood that resembles and transmits the same vital impression as the one here depicted