| Soundboard | Spruce |
|---|---|
| Body | Mahogany · cedar · raulí · ash · oak · maple · mara |
| Neck | Cedar · mara · mahogany |
| Fingerboard | Ebony · pau ferro · rosewood |
| Bridge | Pau ferro or Bahia rosewood |
| Top plate | Mahogany · ash · oak · pau ferro · zebrawood · rosewood |
| Frets | Nickel silver |
| Scale length | 452 mm |
| Tuning | B · E · B · G · D |
| Case | Custom hard case included |
| Optional native model: built entirely from native woods, except for the spruce soundboard. | |
Visual aspects, materials and some design details can be customized, as well as string height and spacing, and fingerboard width and thickness. My aim is for every player, whether professional or beginner, to have an instrument made to their measure and requirements.
The bodies and necks are "laminated," built from several pieces of carefully selected woods (they can also be made from a single select piece). The objectives of this format are: to guarantee and increase the instrument's stability, to make the most of unique pieces of well-seasoned, dry wood (ideally naturally dried), and to achieve figures that contribute to the piece's visual aesthetics.
In some cases, the soundboard work includes carbon fiber parts in its bracing (or struts). The purpose of including this material is to achieve greater longitudinal structure and rigidity for the top (rather than tangential) with lower weight, thereby obtaining high projection and volume, as well as an extra sparkle in the bass.
The ronroco is the lower-voiced member of the charango family. Championed by Mauro Núñez, this “large charango” sits a fourth below the charango. Its body and vibrating length are larger, its sound deeper, and its notes sustain longer. My goal is to achieve a variety and abundance of harmonics: a deep sound whose high strings still “sing” with precision. It is not “a low charango”: it is an instrument with its own singularity.
Tuning: B · E · B · G · D.
Worldwide shipping from Buenos Aires, Argentina.
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