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These specifications, especially the greatly extended fretboard,necessitated a significant design change of the entire instrument compared to a normal Torres model. Since the fretboard would cover a large part of the sound hole in its normal position, it was necessary to move it to the acoustically rather inactive area at the top of the body. So that the high frets can be reached as easily as possible, the neck only starts with the 14th fret on the edge of the body. (Guitarrone 2.0: 12 fret). A large extended cutaway, where the thumb in the normal position can be extended up to the 27th fret (Guitarrone 2.0: 24th fret), required a different neck-body connection. The whole neck including fingerboard is used in one piece. In order to achieve a sufficiently low resonant frequency despite the reduced vibration surface of the top, the sides are slightly deeper than normal. An adjustable large frame sound hole makes it possible to adjust the resonance frequency and the timbre to the respective room. Double frames ensure optimal rigidity so that as much vibration energy as possible is transferred to the top. In order to support the large tonal space of the open strings, a fan binding is used, so the high strings are significantly shorter than the long ones. In return, all strings can be gripped simultaneously over their entire length. A tailpiece absorbs the greatest tension so that the soundboard can vibrate as freely as possible despite the many strings. A sandwich ceiling was chosen for maximum volume and projection. (Guitarrone 2.0: solid top). The bridge is individually adjustable for each string (segmented bridge).



New technical challenges are especially playing five-part chords in the right hand and the extended tonal range of the thumb. This makes playing with the little finger of the right hand almost inevitable. Muting the low strings also requires sophisticated thumb technique.

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