As some of you might know, I currently play a guitar built by Daniele Chiesa (www.danielechiesa.com). What you might not know are the unique features of this beautiful instrument — or the story behind it.

 

My admiration for Maestro Chiesa’s work began in 2010, when I was studying with Alen Garagic. One day, he brought me to Casa Luthier, a specialty guitar shop in Barcelona. We spent the day trying instruments from luthiers all over the world — from beginner models to high-end concert guitars. I didn’t know the prices until the end, but one guitar instantly stood out: a Chiesa. The tone was balanced, rich in color, with great projection and effortless playability. Most of all, the spruce top had this incredible potential to develop. I was in love.

 

Unfortunately, I couldn’t afford it at the time. But I told myself: If I ever reach the level to audition for a conservatory, I’ll do it with a Chiesa in my hands. Two years later, while preparing for my entrance exams, I heard that Daniele was sending a 640mm guitar to Casa Luthier — a slightly smaller scale, perfect for me. I immediately asked them to hold it, and the moment it arrived, I bought it.

 

That guitar carried me through my entire Bachelor’s studies at the Maastricht Conservatorium, and various concerts and competitions. I always received compliments on its sound — a clear sign I’d made the right choice. But as I prepared my final recital, I realized something was holding me back. Despite being slightly smaller than the standard 650mm, the guitar still felt too large. Certain stretches, shifts, and jumps were limiting my phrasing and expression.

 

By that point, I was well past any age of physical growth — so I began testing smaller guitars in shops across Germany. I tried everything from 640mm to 580mm. Most were student instruments or children’s guitars, but I thought: German teenagers and I are about the same height — why not? After trying many sizes and analyzing factors like fretboard thickness, action, and string tension, I found myself most comfortable at 600mm. It felt radical — I even bought one of those small guitars just to test it more deeply at home. Despite its terrible sound, it fit me. Suddenly, my phrasing flowed better. My hands stopped fighting the instrument. The music finally sounded how I wanted it to.

 

So I contacted Daniele.

 

I proposed what I knew was a tall order: a concert guitar scaled down to 600mm. Not only would it mean recalculating everything — dimensions, acoustics, templates — but the risk of it not sounding “concert-grade” was real. And yet… he said yes.

 

Of course, if I was asking for a custom guitar, I wanted it to be truly mine. I requested personal engravings and a very unique rosette — details Daniele graciously included. He even blogged about the process on his site, for those curious about the madness of this project.

 

And the real surprise? He didn’t build one — he built two. Each with very different soundboard thicknesses, to test how they would develop acoustically. That alone shows the kind of master he is. When I first played one of them, my mind was blown. Even brand new, it already sounded as good as my original Chiesa. I couldn’t believe it — it was the same rich voice, now with complete freedom in my hands.

 

To this day, I play that custom Chiesa. And fun fact: my 640mm guitar now belongs to Carlo Marchione — he loved it too much to let it go!

 

So if you’re a guitarist who feels like the standard 650mm (or even 640mm) doesn’t quite fit, explore. Try different sizes. Reach out to makers. These days, luthiers are more accessible than ever, and your ideal instrument may be just a conversation away. There’s no such thing as one-size-fits-all — especially not when it comes to your musical voice.