"I got to know Cândido's work when Linda Martini played with Dead Combo at Eléctrico da Antena 3. I was amazed by the sound and aesthetics of a guitar he had built for Pedro Gonçalves. Some time later I sent him a message; I was about to starting the recording of my first solo album and I had in mind a sound and a guitar that he could materialize. . A couple of years later, we crossed paths again at a concert and the subject came up again. I was about to start production on my second album and, although time was against us again, we set to work. On top of that, the task was not easy: a small-size classic guitar (7/8 scale) that would be tuned a tone lower. Since the guitar is so short, we had to experiment until we got the right string for the intonation and tone we were looking for. The process was beautiful. Every week I received new photos from the workshop for the choice of woods and components and I could follow, even from a distance, the progress of the work. Today I can say that I gained a friend, or at least a guy I like to have lunch with, a rare thing to have after 40, and the most beautiful and pleasant guitar to play."

André Henriques (Linda Martini)

“I met Cândido in his modest workshop at the end of 2015.I remember because I took him a guitar to repair and he invited me to test a Weissenborn made by him. The sound reminded me of the excellence of a grand piano: the notes sounded and held in a natural and musical way.The tuning was mathematical. A week later I was booking the first one he ended. The OM 15.00 is a steel string guitar. With a comfortable arm, we play on it and listen to a record in high fidelity. It has well-cut bass and a simple E major can provide a pleasant experience in its sound exploration. It reacts to the tension placed on the hand or pick producing a remarkable volume, along with a special sustain. Years later, in 2019, the idea of ​​being able to have the same qualities in a classical guitar comes up. In this instrument, I was able to choose woods, give indications regarding the appearance and request some innovations according to the ideal use for it. When I went to pick it up, the sound was “unseasoned”, but very musical. Just three months later, with the right technique, her harmonics sounded like a cathedral. It's almost a pity to combine her sound with other instruments. It's a pleasure to hear every note sound. From the day I took her home, ARAUZ goes with me everywhere. I use it in everything that is music, leading me to rethink and make new arrangements. It's an instrument that challenges me to give it time, forcing me to improve in order to get the performance worthy of an instrument of this type. Finally, I admit that no matter how vintage or handmade the pedal or amp I've been buying over the years, I've never felt so fulfilled in terms of tone. “

João Francisco

"Sou amigo pessoal de vários luthiers de instrumentos tradicionais (Didgeridoos, nGoni, Tambores Xamânicos) e conhecer e visitar o Candido no seu workshop foi juntar a essa lista alguém que também leva o seu trabalho muito a sério, numa dedicação pessoal e emocional com os materiais, o processo e o destinatário do instrumento. Quando vi que o Cândido misturava os seus próprios vernizes de madeira percebi ainda mais quão especial é a sua arte. Apesar de não ter sido feita “para mim”, escolhi ficar com uma Weissenborn que estava pronta e não resisti… e adorei a forma da guitarra que também faz lembrar um pouco a “nossa” guitarra portuguesa."

Rui Aires

"Nunca tive um instrumento feito à minha medida até ao momento em que fui desafiado pelo Cândido e eu o desafiei a construir uma guitarra acústica que fosse aquilo que sempre quis numa guitarra. Quando finalmente a pude tocar, percebi que o som, forma, equilíbrio, bem como todos os pormenores, estavam tal e qual a imaginara e mais ainda. Obrigado Cândido!"

Pedro Gonçalves (Dead Combo)

"Cândido came to visit me at my workshop some years ago, since when we have become good friends.I have observed his enthusiastic journey into guitar building with interest and, I have to say, admiration. It is no easy route, his dedication has rewarded him. I consider his work to be of a good professional standard, the instruments are indeed attractive, capturing the essence of americana in the three appropriate areas, looks feel and sound. Cândido’s knowledge of traditional materials and methodology and of the current applicable technology is sound, equal to his love of the instruments and the music. I recommend musicians to experience the work of this up and coming luthier in Coimbra."

Andy Manson

“What can I say about Cândido Jacob's guitars? I can say that they are amazing! They sound great, they are comfortable, they are robust and at the same time delicate. I've already tried lap steels (weissenborn and teardrop shape) and although they have different sounds (since they are instruments with different formats) there are clearly common characteristics. One of these is prolonged harmonics. I also tried an acoustic one (I don't remember the model) but it was a very well balanced folk guitar with a very round sound. The detail with which Cândido approaches the construction of the instrument is, in my opinion, very peculiar. Uses only organic materials (does not use synthetic glues, for example); the choice of woods is not done at random: he chooses the wood for a given instrument, thus trying to find the perfect combination in order to achieve the best sound. This whole methodology gives the instruments unique characteristics that only luthiers who are involved with their art can achieve. It will not be long before I ask you to build me an instrument.”

Frankie Chavez

“Cândido Jacob is an alchemist who transforms wood into gold for the senses. These days, it's rare to be the one who gives time to time, the time necessary for art to be greater. Candido is one of those. Research, detail, experience, error, repetition. Finally, the light. And this light has its own unique sound. For me, he built the “Avalanche”, the guitar that always accompanies me, made to my measure, to my sound, irreplaceable.”

Senhor Vulcão