Classical guitar making which gives these instruments (lutes, early romantic guitars) a type of "inner" vulnerability, lacking in the modern guitars. (In fact there are people who claim that a performer's interpretational style is psychologically related to the instrument's aesthetic; and that this can even be observed in contemporary recordings, e.g., Bach's lute works as performed on lute(with convincing expressive phrasing), versus the markedly different interpretations of these works on the modern classical guitar. Alternately, the Spanish repertoire such as Moreno Torroba, would be completely unfitting, for a lute or early-guitar sound aesthetic.) Even amongst parlor guitar players, there are some that consider
Classical guitar style of the particular period. As an example: It is impossible to play a historically informed de Visee or Corbetta (baroque guitarist-composers) on a modern classical guitar. The reason is that the baroque guitar used courses, which are two strings close together (in unison), that are plucked together. This gives baroque guitars an unmistakable sound characteristic and tonal texture that is an integral part of an interpretation. Additionally the sound aesthetic of the baroque guitar (with its strong overtone presence) is very different from modern classical type guitars, as is shown below. Today's use of Torres and post-Torres type guitars