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fwiw, my favourites are SAVAREZ New Cristal Classic 540CR. But haven't been playing classical so much in last 5y and there will be new strings developed in that time.
Firms I tried as well as Savarez (a good starting point), gallistrings, D'Addario, Dean Markley.
Carbon strings worth a try but remember the trebles are more slippery and need more tying on.
Tying on good fun but more fiddly than other guitar types and worth learning to do well.
Bridge should look like this....
and headstock should look like this.....
Tricks with headstock tying on. Initial locking - all you need to do is pull back string at first turn around tuner roller around string coming out of hole so there's a 'locking angle'. You see people doing all sorts of weird ties and twists apart from this and you just don't need to. Make sure the 1st and 6th strings aren't touching the wood of the headstock slot after they come off the roller. This, on some guitars depending how they've been cut, means wrapping the string around the inner end of the roller not the outer in order to accomplish. I suspect the guy in the picture might have this problem. It does make a difference. Every little aspect of classicals will affect tone. Generally, if you alter anything on a classical it will affect tone!
Take great care when restringing not to mark the wood anywhere with bass string scratches and plyers. It's easily done and I've seen ruined classicals due to careless restrings. Cut the string ends short; if they're properly tied on they're not going to slip. Do one string at a time rather than taking all the strings off. Classicals don't like being detensioned. Other types of guitars that's not so important.
Trial and error and practice I'm afraid @mikew - and you will get that! - classicals need restringing every week or three to maintain the nicest string tone. Most are quite dull after a month of moderate playing although again that will vary between string sets.
Ooh, that's another thing, keen classical players often try half sets; so they'll have the three trebles (all nylon) from one set and the three base strings (wound) from another. Such fun!
Another difference is that new strings won't stay in tune for very long for a few days as they need to stretch but they do settle down and become stable.
https://www.amazon.co.uk/Guitar-Beads-Dark-Wood-Pattern/dp/B0BCX28WWN/ref=asc_df_B0BCX28WWN/?tag=googshopuk-21&linkCode=df0&hvadid=641695888762&hvpos=&hvnetw=g&hvrand=1365643683682009305&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=1007104&hvtargid=pla-1967622225029&psc=1&mcid=6b38d2d5740934d49177723c60453efc
https://www.daddario.com/products/guitar/classical-guitar/pro-arte-nylon/
or as a more pricey alternative:
https://www.stringsdirect.co.uk/products/labella-413p-professional-studio-80-20-bronze-classical-guitar-strings
In it, the top three strings are normal tension and the bass three strings are high tension. I find it gives a marked bass enhancement without the more glassy trebles that their high-tension treble strings tend towards. Easier to play too!
The Furch GNC4, unlike many other crossover guitars from predominately steel strung makers, is built more or less like a standard classical with regard to the top and bracing and is a fine instrument. I've got one (a left-hander) but still have the original strings fitted.
For heavier-built crossovers from people like Taylor, I'd probably go for something like the Savarez Corum Alliance which I've found has a sharper tone which helps compensate for the heavier build.