As an engineer he has long been involved in research and development in the field of applied acoustics, where he carried out in-depth studies on sound analysis and its components, such timbre, dynamics, intensity, micro- and macro-dynamics. At the same time he carried out in-depth research on human ears as transducers of sound waves in space, and on the “subjective perception of sound”. At the same time, his passion for music, and in particular for the classical guitar, led him to take an interest in, and study in depth the characteristics of woods and their use in classical guitar making, analysing the concepts and construction methods of historical makers – especially those of the great Spanish master Antonio de Torres – of which he is now considered one of the leading experts at international level. He has thus poured his know-how as an acoustics engineer into traditional classical guitar making, leading to a new conception of the classical guitar that reflects continuity with the classical tradition and, thanks to a tireless passion for sound, the presence of important innovations implemented on it, such as: a treatment called “TESLA treatment” (in honour of the great scientist Nikola Tesla) which, thanks to a special polarisation of the woods to be used for the construction of his instruments, allows their “molecular orientation”. He has also developed a new soundboard bracing design that, for the first time, does not use either of the two harmonic bars. Furthermore (based on his research into the analysis of the propagation modes of sound waves in space and the related phenomena of reflection and incidence), he has developed a new concept for the resonance chamber of the classical guitar which, thanks to the improved propagation of the waveforms inside it, gives us a classical guitar capable of frequency responses ranging from 65 Hz (the low end of a cello) to over 3,000 Hz (the high end of a violin). Finally, he has elaborated the preparation of a varnish, which makes exclusive use of natural resins, the formula of which he has developed after having studied at length those of the Cremonese violin-making tradition (of the great masters: Amati, Guarneri and, in particular, Stradivari). In the construction of his instruments he adopts a criterion that leads him to design his instruments by thoroughly examining every single wooden component and interpreting its sound potential in the most convenient way. From this, even though they are the expression of the same project, comes the absolute uniqueness of each of his guitars, in which the wood is, in terms of the materials used, the only protagonist, and the sound, understood in its qualitative and quantitative parameters, the one and only objective of the master’s works. The concept of replication and seriality is therefore banished from Sellitto’s work in favour of the exaltation of the intrinsic acoustic properties of each instrument. He has received testimonials of appreciation from leading figures in the guitar world