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Grading Soundboards
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Richard Jernigan
Posts: 3437
Joined: Jan. 20 2004
From: Austin, Texas USA
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RE: Grading Soundboards (in reply to Anders Eliasson)
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In the classical world, my 1973 spruce/Indian Romanillos top has very wide grain near the center seam, narrows down a bit then widens out again. I've seen Bream's famous number 501 up close, the next one Romanillos made after mine. Its top could be the next board in the tree from mine. Kevin Aram, in a lecture to the Guild of American Luthiers drew on an interview with Romanillos about number 501. Guitar woods were hard to get in England in the 1970s. These tops were resawn from cello tops. My Romanillos is my favorite among classicals I have played. Bream said his was "the best guitar I ever had." Bream had at least three Hausers, an Hernandez y Aguado, a Bouchet, and several other distinguished makers. When I ordered my spruce/Brazilian classical from Abel Garcia in Paracho, he showed me some spruce. He said Romanillos gave it to him when he studied with Romanillos in Spain. Romanillos said it was from "early in my career." It had the same grain pattern as mine and Bream's. For the back and sides of my Garcia I picked out a straight grained quarter sawn set of Brazilian. I asked him which set he would have picked. He indicated a slab sawn set. i asked him why. He said, "Because it is softer." I asked him how much difference my choice would make. "Very little," he replied. I told him to pick out the top--he is the expert. In the event he picked a piece with very fine and even grain, with a lot of silk, perfectly quarter sawn with no runout. I never saw it before I got the finished guitar. I never asked him why he picked it, but I'm very happy with the instrument. After I play the Garcia for a while, sometimes I get out the Romanillos to see which is better. The Romanillos is, but once in a while I have to compare them to make sure. RNJ
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REPORT THIS POST AS INAPPROPRIATE |
Date Oct. 30 2012 8:56:20
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