Matsuo Bashō [1644 – 1694]

The guitars I build are steeped in traditional building techniques, and knowledge of the bygone masters has given me a solid foundation in traditional guitar construction. Despite my deep admiration for their instruments, I have come to the realization that I have no interest in building copies or replicas of other makers' work. I have my own ideas and vision of what I want to accomplish, both sound-wise and aesthetically. Therefore, my instruments represent my personal vision and capabilities. To put it simply, I build Tobias Berg guitars.

I adhere strictly to traditional materials: solid wooden tops and fan bracing. I do not incorporate double-tops, balsa lattice, epoxy or polyurethane glues, or Nomex. While these modern techniques can certainly produce exceptional instruments, they do not align with my personal approach, for various reasons. I continue to explore the full potential of the traditional classical guitar, a pursuit that remains my focus every day I enter my workshop!

Since 2011, I've incorporated double sides, which helps me achieve more of what I'm looking for in my guitars, a directness of attack and a stronger fundamental. Furthermore, the use of a neck reinforcement is also a vital element of my design. Recently, I've switched to using solid linings for gluing the top to the sides. This is a continuous evolution. Up next is the incorporation of a Tornavoz, the journey continues, step by step.

While striving for excellence, I recognize that there is no single »best« guitar. There never can be! This creates a paradox: I strive to build the best guitar possible, knowing that perfection is an ever moving target. What one person really loves is not what the next person is looking for, and that is perfectly fine! Diversity and open-mindedness benefit us all. In a concert setting, I'm not pondering how the instrument was braced; I enjoy the music, regardless of construction method. To me, it's a matter of taking small incremental steps, one at a time, with each instrument, and as long as I have the feeling that I'm making a personal progress with my instruments, then I believe that I'm still on the right track.

The good folks at Guitar Salon International, known for their expertise in classical guitars, have said the following about my instruments:

"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."