The guitars I build are steeped in traditional building techniques, and knowledge of the bygone masters has given me a strong foothold in traditional guitar construction. Still, I have come to the realization that I have no interest in building copies or replicas of other makers' work. Even though I admire their instruments very, very much. I have my own ideas and vision of what I want to accomplish, both sound-wise and aesthetically. Therefore, the instruments represent what I strive for and what I am able to do, to the best of my abilities. Namely, building a Tobias Berg guitar, no more, no less.

I always use a solid wooden top and spruce braces. I don't build double-tops, no balsa lattice, no epoxy or polyurethane glue, no Nomex, none of that is to be found in my guitars. Obviously, absolutely amazing instruments can be built that way - it's just not me or what interests me, so to each his own. I'm still seeking to explore the full potential of the traditional classical guitar, and it's still a very captivating endeavor to me.

Since 2011, I've incorporated double sides, and that helps me to achieve more of what I'm looking for in my guitars. Also, the neck reinforcement is a vital part of what I do. Recently, I've switched to using solid linings for gluing the top to the sides. It's an ever-evolving process that doesn't end.

I'm striving for excellence, and still, I'm fully aware of the fact that there can never be "the one" or "the best" guitar. It's a bit of a paradox. Still, I'm trying to build "the best" guitar that I can achieve, time and time again, with the knowledge that the goal will always be unattainable in the bigger picture. What one person really loves is not what the next person is looking for, and that is perfectly fine - diversity and an open mind with less judgmental attitude help all of us. In a concert setting, I'm not pondering over how the instrument was braced; I enjoy the music regardless of construction method. To me, it's a matter of taking small steps, one at a time with each instrument, and as long as I have the feeling that I'm making progress, I believe I'm on the right track.

The good folks at Guitar Salon International have said the following about my guitars:

"For tone, the double-sides give the guitar a deeper, almost 'cathedral-like' presence to the sound, a quality we've only heard before in modern Daniel Friederich guitars. Tobias also reinforces the neck. This both improves stability of the neck for setup purposes and enhances sustain noticeably. The guitar has a noticeably nice response, particularly in the trebles where the notes just seem to 'pop' with the slightest touch of the right hand.

Tobias is one of the great luthiers building a traditional lightweight, yet full-sized (albeit more 'compact' body size) instrument, much like the Spanish guitar makers of the late 19th and early 20th centuries. Making this a very comfortable, fun, and easy guitar to play. As we've said many times about this maker's work, his guitars have a unique and bold aesthetic - the headstock, rosette, and bridge reveal a fondness for traditional Japanese architecture which Tobias admires for its understated elegance in its usage of perfect lines and sharp edges. He has seamlessly and delicately integrated elements of this into his unique and beautiful design. Overall, one of the more charming and impressive makers in the world today. We are proud to host Tobias Berg's works in our showroom and look forward to offering many more of his models as this builder continues to deliver guitars of high caliber."