by Mimmo Peruffo

The Microguitar® is the world's first classical guitar that has been micronised thanks to the innovative type of strings we have developed.

Alessandro Giordani – presentazione Microguitar


TOP | Cedar
BODY| ABS shell
NECK| Okumé
NUT| Bone

SCALE| 432 mm
NUT WIDTH | 48 mm
PICKUP | optional
STRINGS| Aquila 187C
BAG| not included

Is it a Guitalele/guilele?

Absolutely not, even if it might look like one. First of all, there’s a difference in tuning, that is the same as that of a normal classical guitar. In addition, there are other structural features that enhance the acoustic volume and ensure a discrete resonance in the low frequency range, so as to fully imitate a classical guitar. However, the Microguitar can still be tuned in A or even in High-E using our sets. The reference Aquila set for this instrument is the Red Series E-tuning set (code ref.187C).

Why can’t others miniaturise a classical guitar as you did, following your example?

In the 1950s, transistors were invented, allowing the miniaturisation of radios. Without the introduction of the transistor, this would have not been possible. Our transistors are these new type of strings, based on a recently discovered bioplastic we call ‘Sugar’, and for which we have the exclusive use.

Laboratory tests show that Sugar strings have a 24% increase of sustain, as compared to Fluorocarbon strings, and 18% more sound power (measured in Joules). This new bioplastic is loaded with variable quantities of micronised metal powders, creating strings with very high acoustic efficiency, hence the miniaturisation. In other words, we are dealing with cutting-edge technology.

So all the strings are made with Sugar?

No. The six strings are very different from each other, both in terms of mechanics and materials used, as well as in terms of the technology employed, in order to achieve a perfect homogeneity of timbre and acoustic volume. For example, the first and second strings are both sugar-based but loaded with different amounts of iron powder, being higher in the second string. The third one is a multifilament-core string, wound with a thin stainless steel wire, and balanced in its components so as to ensure a perfect sound transition between the second and fourth strings, at the same ensuring durability through time (stainless steel is a very strong and durable material).
The fourth, fifth and sixth strings use a red-varnished copper wire: the aim is both to reduce noise when passing fingers and to eliminate potential metal allergies.
The sixth string, which is the most critical in the lower frequencies range, employs a special aerospace-grade multifilament that provides even better acoustic performance than traditional nylon-based multifilaments. This special multifilament is not used for the fourth and fifth strings, because otherwise there would be an excessive brilliance and tonal imbalance with the rest of the set, especially with the sixth string.

What other arrangements have you adopted?

The soundboard is made of solid cedar, in order to maintain the timbre of the classical guitar and give more emphasis to the lower frequencies. Mahogany was used for the neck and the bridge, while the fingerboard and the headstock are made of walnut. Expensive and/or rare tropical woods were intentionally avoided.

The ‘Ovation’ style shells we produce in embossed black ABS (in the near future we intend to use a bioplastic) were chosen not just for a commercial distinction, but because in doing so we achieve less wood consumption, lower costs, greater acoustic volume and better resonance in the lower frequencies, which is the real problem to be solved in such a drastically miniaturised instrument.

The neck width at the capo is very close to that of a normal classical guitar, while the neck-to-body connection is made at the 14th fret, not at the 12th. This makes the instrument more versatile and gives it a sleeker, more elegant appearance.

Why did you choose that string attaching system to the bridge?

Both out of necessity and out of habit. The limited surface with which the bridge adheres to the soundboard could have not been enough to resist to the overall tension of the six strings; adopting a bridge like the one we decided for, allows the tension force to be directly transferred onto the soundboard, also giving its own aesthetic and distinguishing value.

Will you provide any options?

Yes. On request, we can install a piezo under the bridge bone, providing a direct jack output without preamplification. At the same time, we are studying a system to install a possible shoulder strap.