Opinions and Comments.           






According to the opinions of numerous professional guitarists, concertists, teachers, composers and audience, if we had to resume in one word the results of this new way of making guitars, perhaps it would have to be the word " ROUNDNESS".


A very even legato can be heard in melodic passages, as long and complex as these may be in their intervalic composition,  anywhere from the 6th string up to the xx fret of the first.


In polyphonic passages all the voices are well-balanced and present, with a solid and well defined sound, offering the necessary sustain for melodic expression in slow passages, at the same time giving solid support for notes in fast passages.

The voices in harmonic textures can be heard clearly and distinctly,  including with dissonant intervals in fast passages without losing auditative definition.

In rhythmic aspects, the calculation  of string tension provides for agile articulations in the right hand, especially with dotted, syncopated and staccato rhythmes, with  conciseness and " ben marcato ".

A similar sensation can be felt when playing scales and similar passages.

Also, in dynamics, ascending in "crescendo" up to high notes can be carried out with great consistency. and good volume and projection is provided, even for "pianos " in concert halls , regardless of the acoustic conditions, and whether solo guitar, for voice accompaniment or ensemble music.

The pure frequencies of these guitars make it an ideal instrument for recording,  producing very natural and realistic results.





    The guitarist Rene Mora´s concerts are characterised not only by his craftsmanship both technically and artistically as a musician, but also by  the special features of the instrument he uses.

    Instrument -building according to the patterns
carried out by Spanish scientist Juan Menduiña endow the instrument with hitherto unknown possibilities, such as.

    Pure harmonics, giving depth and projection in sound,
making pianissimos audible from the back of even larger halls.

    Another clear feature is the sweetness of tone, owing to the absence of  non fundamental harmonics which tend to cloud the sound.

    We ought to congratulate Mr.Menduiña for this discovery, and also Mr Mora´s acceptance of this undoubtedly revolutionary system.

Maria Luisa Ozita (Octobre 2006)

( Composer, Concert Baroque Harpsichordist and
President of the Spanish Association of Woman in Music)





    When I first heard René Mora play with a prototype guitar using the Menduiña System , I was deeply surprised to perceive the harmonic and timbre strength of the instrument, quite often more cloudy in those constructed in a more standard way by traditional luthiers.


    The transparent and balanced sonority which this new version of the guitar presents, together with an amplification and natural acoustics projection based on the exact application of the physical-harmonic phenomena of sound, allows for perfect audition in of subtle details in wide dynamic ranges.


    These characteristics make it adequate for the interpretation of all types of repertoire, and especially ideal for the most risky acoustic demands of music of nowadays.


    The continuous development of this important innovation brings us imminently closer to the perfect balance between technology and art, endowing the scientific fact with the colour and warmth which have conquered composers, interpreters and listeners through the guitar, a great instrument.

Juan Manuel Ruiz (Febrero 2007)

(Composer and Guitarist).



    Since very early I have worked with the most famous Spanish luthiers. Twenty years in the Ramirez workshop allowed me to learn this craft very well.
    I  was first introduced to Juan Menduiña who showed me an early prototype whilst giving a course at the luthiers school Clavijero. I was immediately surprised, firstly because of the sound qualities, and then because of its completely innovative structure.

    Unlike other technological approaches, I was struck  by the MS solid research, and it was obvious that this complex structure had to have really important physical-mathematical fundamentals behind it. For the first time I have found an explanation for many questions that have come to mind throughout my professional years, in such a way as to open up possibilities of mastering sound production on the guitar.
    While before it was a question of trial and error within a method, now it is a question of being able to manoeuvre with certainty and reliability in my work results. I enjoy using different woods for sound comparison but now with more technical and musical grounding.

    Evaluations of the results are both personal and that of other many good professional guitarists, thanks to their participation; this showed very easy adjustment to their interpretive demands.

Arturo Sanzano. (Marzo 2007)

( Guitar-Maker )




    I have the advantage of being both guitarist and guitar-maker at the same time. This allows me a broader  knowledge, and set of ideas to evaluate the guitar.

    I would have to say that the Menduiña System is an
innovative system that gives greater sound projection, greater clarity in timbre, and separation of frequencies; this is perhaps the most noteworthy quality of MS, in my opinion.
    Like myself, most of the guitarists that I have
contacted are flamenco. I have found that the majority have preferred this to the orthodox method. I think the clear sonority, being able to distinguish the notes clearly for "rasgueos and picados" is favourable for the flamenco sound.

    Other guitarists who play with MS guitars such as
Juan Antonio Suarez " Canito ", or Jesus Torres among others, opine that this is a great contribution to the guitar world.

 Arcadio Marín Dalmau. (March 2007)

( Concert Guitarist, Composer and Guitar-Maker )




    At the age of 18 a composition teacher of mine explained that  the different tuning systems tried to compensate for the harmonically imperfect instruments, and that, very perceptively on his part, one day mathematics and science will solve these problems of proportions. It is more than evident that this moment has come.

    Having accompanied singers, I now understand better when they refer to " discovering " their natural vocal register; this must mean natural facility for melody.

    Also, I have always been fascinated by various human voices harmonising without harmonically patchy areas of impure frequencies; the results are evenness and easy listening. Similarly,  I think the discoveries and development of Juan Menduiña have brought to the guitar natures most enjoyable and pleasant sounds that have not been possible in this way up to now.

    Owing to very good projection it has really helped me in my work in expensive ensemble combinations and chamber music; hence helping to shorten the gap, more so, between the guitar and other instruments.

 René Mora. (Marzo 2007)

( Concert Classical Guitarist )



    I have tried various guitars made with the Menduiña System and I am very happily surprised. I think his contribution to the guitar is undeniable. Any musician can judge this personally and it will not be long before it receives general recognition. The work of Menduiña.is rigorously scientific; this has enrichened the guitar world from a scientific and objective perspective. It is the path towards acheiving maximum quality in our beloved instrument. 

                                                                                 Pedro Lopez de la Osa.
(Diciember 2007)

                                                                                 ( Concert Classical Guitarist )
- Founding Member of the Arriaga Foundation.
- Musical Director of "Interational Guitar Encounter of "The City of Majadahonda" (Madrid ).
- Guitar teacher of the Municipal School of Villanueva de la Pardilla.