The Arciliuti, invented in present-day Italy, according to Alessandro Piccinini's own statements in 1594, enabled a completely new sound aesthetic with its long, longitudinally mounted bass neck and its single, long and thin bass strings in the low bass register. The development of the Arciliuti was directly related to the emergence of the basso continuo (1600–1800). 

The application (1600-1750) was mainly limited to Italy at that time, and was hardly established outside of it. Original archlutes had double strings on the fingered neck (petit jeu) and a string length of around 60-65 cm. The string length of the theorbo-style single basses (grand jeu) was between 125-145 cm, and the string ratio of original instruments was approximately 1 : 2-2.25. The tuning of the mostly 14-course archlute was in "vieil ton".

(At 415Hz/g'/in NNG gut/0.42mm/4.00kg, a string length of up to 63cm is possible; beyond that, carbon or nylon must be used).

The Liuto Attiorbato (the Italian Baroque lute) also had a longitudinally mounted but shorter bass neck with octaved strings. It was mainly used in Venice in the first half of the 16th century. Original liuto attiorbati had 11, mostly 14 courses and a fretted string length (petit jeu) of 57-64 cm. The theorbo basses (grand jeu) had a string length of 84-96 cm and a string ratio of approx. 2 : 3. The Liuto Attiorbato was entirely double stringed (with “octave” basses) and tuned in the "vieil ton" 6(7)x2, 1+5(6)x2) / 8x1.

Single strings on the fingerboard (with sound aesthetics similar to guitars) did not exist on original instruments.

In original source texts, the term tiorba for theorbo is often misleading, as it could also refer to archlutes. Despite their similar appearance – both have a longitudinally mounted bass neck – a chitarrone/theorbo is based on a different sound ideal/concept than an archlute.
- An archlute is a double stringed alto lute in g', with a body of approximately the same size (higher natural frequencies). Instead of bass strings in octaves, it features longer, individual bass strings. The 3rd course is an a (around 0.62 mm). Compared to a theorbo, it has shorter, freely vibrating bass strings, thicker string gauges, and a lower pitch. Overall, this results in a darker timbre from the 3rd course onward toward the basses.
- The considerably larger chitarrone / theorbo (low natural frequencies) is an instrument with a deliberately high pitch relative to its body size. The 3rd single or double string is the highest, usually a b (around 0.42-45 mm). It has a generally bright timbre. It is combined with two treble single or double strings tuned "re-entrant."

To counteract posture and back problems, I have developed a weight-reduced bass neck construction that guarantees balanced weight distribution. The slightly rounded ebony fingerboard cross-section makes the instrument easier to play. 

Original spruce soundboards were usually made without a binding or with a parchment-bound edge. For practical reasons (edge protection, interior repairs), I recommend discreet edge insert.

The choice of the standard tuning pitch (415Hz or 440Hz or ??) is important for calculating the strings. Please note that a change in the tuning pitch has a decisive influence on the string diameter and string tension if the fretted string length remains the same.

(The tuning pitch relevant for the string length varied between 370 and 470Hz in the 16th to 18th centuries, depending on the place and time).

Around 1660, the development of open “demi filées” and closed metal-wound strings with a gut core began, but their acceptance was very slow due to the different sound aesthetics compared to “pure” gut strings. The development of metal-wound strings with silk cores began in the mid-18th century and only became widespread around 1770. Wound strings with silk cores cause a disturbing long reverberation that does not serve the music/composition.