David Antony Reid Auditorium Realwood with side chamfer/bevel and double monitor (ports); it has a cross silked sitka spruce top, Indian rosewood back and sides. Indian rosewood fingerboard and bridge, flamed maple head veneer, bindings and chamfer (Bevel). Apple and European walnut rosette. Black Tahiti pearl dot fretboard markers & headstock inlay. Stainless steel Waverly machine heads. It's 44mm at the nut, and 54mm at the 14th fret/neck joint. The string spacing at the saddle is 56.5mm from E-E. The neck is fast and ergonomically carved so that it is subtly heavier at the top than at the underside to allow the payers hand around it, but gives something to grip at the top; and at the heel, -- which is super slim. The neck is carved in further for better access to the lower register. Some insider information: David steps the saddle slot 3mm or so further back towards the string-hole-side of the bridge and routes the saddle slot right all the way through the bridge. Then he channels a further area out under the bridge all around the underside of the saddle slot, about 4-5mm on either side and about 1.5mm deep. This allows the saddle to go straight onto the soundboard and frees up the direct area around the underside of the saddle. Also, he mirrors the compensation of the saddle onto the underside of the saddle so it's shaped to a point, further concentrating the energy from the strings onto the top. This direct transfer of sound has quite a difference on the impact of the string force. The finish is a thinned matt nitrocellulose applied in a few coats with no grain fillers. This Too, allows for the maximum transferance of sound waves. The guitar is very lightweight. It's like playing an aero-dynamic instrument. If it were an airplane, it would be a glider ...! Hiscox Lite flight case included.