In first years of the '90es, the guitar gives me the possibility to get closer and to love music in a more mature and aware way.
From the beginnings I didn't take any guitar lesson, I followed a self-teaching approach completed with exercises created by myself hoping to have made the right choise for me. I always avoided to play or trying to play others' tunes (I hate thinking to, also) in order to give the maximum possibilities to play what I feel to play, to follow my personal musical taste.
Thanks to this instrument I get the possibility to study and love its sound, the way it is generated and the way it decay. Exploring this sonic world is directly followed by a better guitar technique in both precision and easy execution. The next step from here was the preparation of the instrument in order to expand the timbrical possibilities.
The acoustic guitar becomes a sonic laboratory where searching for new, usable and independent sonorities.
Talking about purely technical aspects I can say I didn't owned a quality acoustic guitar: I always used cheap instruments but I have used them to their extreme limits (hoping the limits wasn't mine). Using the instruments in this way underlines that the "absence" of the common concept of quality can be a feature like its "presence". This is evident when I focused the attack and decay peculiarity of the harmonics.
Still about technical aspects I can also say that I prefer finger-picking. I started playing using plectro (it was easier than giving a coordinaton to the right hand fingers) but not I don't love it use and the sound it gives.
Using finger-picking I tryed to join both guitar and bass techniques in order to expand my playing possibilities. Last but not least I joined the percussions technique also... far away from the guitar world.

The acoustic guitar I use, as said above, is a cheap instrument, completely acoustic so it hasn't any embedded microphone. I use a normal six strings guitar set with an E-string of 0.010"
Its sound is quite "woody" with a great voice but with an evident lack in sound definition. Sometimes its sound seems like the one produced by a marimba.
As I said this quality lack can be turned on a base where starting study and building something. It's wonderful understanding that every instrument has an its own sonic world with well defined features.

About a year after starting playing the acoustic guitar I decided to buy an electric one. This choice was made because of my musical taste in those times (mainly death metal - grindcore - punk) and so I was looking for that typical distorted and saturated sound.
For some years I continued playing the electric guitar mainly, never minding the acoustic one. But more time I spent playing the guitar and more times I didn't turn on the distortion enjoying the acoustic sound. This new acoustic tendence is the cause of a temporary abandon of the electric guitar.
A new electric guitar era was coming in few years because of two different reasons: the first was the good and mature technique acquired playing the acoustic guitar; the second reason was the search for new timbrical and execution possibilities developed both in the acoustic and in the electric guitar.
The technical maturation gives me the possibility to transpose my sonic research (developed on the acoustic guitar) into that instrument which became a perfect laboratory where I explore and develop new sounds.
Thanks to the precence of pick-ups (embedded microphones) and the compact shape, the electric guitar became an ideal place where studying sound. I can easily amplify the signal exploring sounds and harmonics that are too weak to be identified and using that sound as sources for others. The shape of the instrument also gives me the possibility to simplify the execution techniques and allowing more agility on it.
This is the base where I can start combining the preparation of the instrument with percussive techniques that allows to have a really wide set of timbrical variety as wide as the expressive variety. That so wide set of possibilities and the type of preparation caused the overtaking of the actual occidental tuning (the octave 12 halftone division). This type of preparation, for example, sometimes changes the diapason length of the guitar without, obvioulsly, changing the key scaling; another example can be a preparation that is based on the intermodulation o different frequences or the coupling of vibrant material that have different or non-linear harmonics.
This sound research has educated my ears to listen to different tuning and, at the same time, to analize better than ever the timbrical component of a sound.