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The Guitars of Notable Classical Guitarists
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flamenco_9
Posts: 214
Joined: Jan. 15 2004
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The Guitars of Notable Classical Gui...
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I have just found this good information source: http://www.geocities.com/hyz_sg/theguitarsofnotableclassicalguitarists.html Sergio Abreu - Sergio Abreu, Brazil Jose Romanillos, England Hermann Hauser I, Germany, 1935 (Ref No.108) (Duo Abreu) - Daniel Friederich, France, S/N: 371 (1974) and 372 (1974) (Ref No.238) Lily Afshar - Thomas Humphrey, U.S.A., Millennium model (Ref No.107A) Laurindo Almeida - Jose Ramirez III, Spain, cedar/Braz (Ref No.68) Julius Gido, U.S.A. (Ref No.69) Felix Manzanero, Spain (Ref No.79) Vicente Solis Garcia, Mexico, 1953, spruce/Indian (Ref No.84) Vicente Amigo - Manuel Reyes, Spain (Ref No.109) Lester DeVoe, U.S.A. (Ref No.110) Maria L. Anido - Jose Yacopi, Argentina (Ref No.202) Armaldu Anarson - Ignacio Fleta, Spain Alice Artzt - Thomas Humphrey, U.S.A . Sergio Abreu, Brazil (Ref No.89) Odair Assad - Paul Fischer, England Thomas Humphrey, U.S.A., Millennium model (Ref No.107B) Jose Romanillos, England David Rubio, England Sergio Assad - Paul Fischer, England Thomas Humphrey, U.S.A., Millennium model (Ref No.107C) Jose Romanillos, England David Rubio, England Roberto Aussel - Maurice Dupont, France, spruce * Daniel Friederich, France, cedar, S/N: 460 (1977), 615, 646, 694 (Ref No.244) Denis Azabagic - Otto Vowinkel, Holland, cedar (Ref No.32) Agustin Barrios Mangore - Jose Ramirez I , Spain (Ref No.111) Jose Ramirez II, Spain (Ref No.112) Enrique Sanfeliu, Spain (Ref No.113) Manuel Barrueco - Robert Ruck, U.S.A, 1972, cedar (Ref No.5) Matthias Dammann, Germany, 1995, cedar (Ref No.4) Siegfried Behrend - Richard Jakob Weissgerber, Germany (Ref No.186) Yamaha, Japan, GC 30-B, late 1970s, built by Hideyuki Ezaki (Ref No.187) Kodama Kanoh, Japan (Ref No.188) Paulo Bellinati - Paul Fischer, England, 1977, spruce (Ref No.1) Ignacio Fleta & Hijos, Spain, 1991, cedar (Ref No.2) Robert Ruck, U.S.A., 1997, spruce (Ref No.3) Robert Bouchet, France, recording use on "The Guitar Works of Garoto" (Ref No.90) Baltazar Benitez - Ignacio Fleta, Spain Ernesto Bitetti - Jose Ramirez III, Spain (Ref No.206) Ignacio Fleta, Spain Diego Blanco - Ignacio Fleta, Spain, 1980 Piero Bonaguri - Jose Ramirez III, Spain, 1969 (Ref No.311) Pietro Gallinotti, Italy, 1940 (Ref No.312) Dario Pontiggia, Italy, 2003 (Ref No.313) Carlos Bonell - David Rubio, England, late 1960s (Ref No.114) Jose Romanillos, England, mid 1970s (Ref No.115) Ignacio Fleta, Spain Trevor Semple, England, Series 88 Greg Smallman, Australia (Ref No.116) Remi Boucher - Joachim Schneider, Germany (Ref No.229) Liona Boyd - Jose Ramirez III, Spain Yamaha, Japan, GC-70C, handmade by Kato * German Vazquez Rubio, U.S.A. (Ref No.233) Julian Bream - Manuel Ramirez, Spain (Ref No.117) Santos Hernandez, Spain (Ref No.118) Hector Quine, England, 1954 (Ref No.119) Robert Bouchet, France, sold in 1990 Details on the Bouchet guitars : 1957, 1960, 1962, 1964 (Ref No.123) Hernandez & Aguado, Spain, 1965, sold in late 1970s (Ref No.124) Brian Cohen, England, 1991 Jeffrey Elliott, U.S.A., 1986 Hermann Hauser, Germany (Ref No. 65A) Details on the Hauser guitars : Hermann Hauser I, Germany, 1936, 1940 (his present guitar, owned by Rose Augustine), 1944, 1947, 1950 (Ref No.120) Hermann Hauser II, Germany, 1957, sold to Robert Spencer, currently owned by Bruce Banister (Ref No.121) Edgar Monch, Germany/Canada, 1959 (Ref No.122) Masaru Kohno, Japan, sold in 1990 * Jose Romanillos, England, 1973, 1985 David Rubio, England, 1965, 1966 (Ref No.125) Kevin Aram, England (Ref No.49) Gary Southwell, England, 1996, bench copy of Rose Augustine's 1940 Hermann Hauser I guitar (Ref No.126, Ref No.189) Robert Brightmore - John Gilbert, U.S.A. Leo Brouwer - Daniel Friederich, France, S/N:392 (1974) and 441 (1976) (Ref No.93, Ref No.239) Francisco Simplicio, Spain (Ref No.94) Yamaha, Japan, H. Ezaki, GC 30A, cedar, late 1970s, bought from the luthier in person (Ref No.127, Ref No.190) Ignacio Fleta, Spain (Ref No.128) Julian Byzantine - Greg Smallman, Australia, 1990 Smallman & Sons, Australia, 1999, made by Kym Smallman (Ref No.230) Jorge Caballero - Masaji Nobe, Japan (Ref No.129, Ref No.191) John Price, Australia (Ref No.130) Jorge Cardoso - Manuel Contreras, Spain, 25th Anniversary model Abel Carlevaro - Manuel Contreras, Spain, Carlevaro model, early-mid 1980s (Ref No.50; Ref No.131) Ricardo Cobo - Thomas Humphrey, U.S.A. Gregory Byers, U.S.A. (Ref No.20) Jose Oribe, U.S.A. (Ref No.21) Tom Blackshear, U.S.A. (Ref No.43) German Vazquez Rubio, U.S.A., Humphrey Millenium replica (Ref No.234) Mikhail Robert, Canada (Ref No.308) Michael Chapdelaine - Michael Thames, U.S.A. (Ref No.38) Thomas Humphrey, U.S.A., Millennium model (Ref No.86, Ref No.107D) Leif Christensen - Ignacio Fleta, Spain Costas Cotsiolis - Manuel Contreras, Spain, 25th Anniversary Edition model Alkis Efthimiadis, Greece Thomas Humphrey, U.S.A., Millennium model (Ref No.107E) * Zbigniew Gnatek, Australia (Ref No.95, Ref No.227) Flavio Cucchi - Andrea Tacchi, Italy, spruce (Ref No.212) John Dearman - Thomas Humphrey, U.S.A., 7-string Millennium model (Ref No.107F) Aniello Desiderio - Andrea Tacchi, Italy (Ref No.226) Graham Anthony Devine - Daniel Friederich, France (Ref No.236) Hernandez y Aguado, Spain (Ref No.236) Michael Gee, England (Ref No.236) * Andres Marvi, Spain (Ref No.253) Alirio Diaz - Ignacio Fleta, Spain O. Raponi, Italy (Ref No.132) Jose Ramirez, Spain (Ref No.314) Pietro Gallinotti, Italy (Ref No.315) Hermann Hauser, Germany (Ref No.316) Scandurra (Ref No.317) Carlo Domeniconi - Kolya Panhuyzen, Canada (Ref No.54) Duo Sonare (Jens Wagner & Thomas Offermann) - Maurice Ottiger, Germany (Ref No.133) Bernhard Kresse, Germany (Ref No.134) Karl-Heinz Rommich, Germany (Ref No135) Roland Dyens - Maurice Dupont, France Olivier Fanton d'Andon, France, 1992 (Ref No.6, Ref No.136) Marcin Dylla - Manuel Contreras II, Spain, Spruce, 10th Anniversary model (Ref No.254) Jozsef Eotvos - Karl-Heinz Rommich, Germany (Ref No.137) Masaki Sakurai, Japan (Ref No.138) Jose Antonio Escobar - Simon Marty, Australia (Ref No.203) Eduardo Falu - Ignacio Fleta, Spain Eduardo Fernandez - Paul Fischer, England * Daniel Friederich, France, 1986, cedar, S/N:614 (Ref No.247) Eliot Fisk - Ignacio Fleta, Spain, 1986 Thomas Humphrey, U.S.A., 1988, Millennium model cedar (Ref No.107G) Aaron Green, U.S.A. (Ref No.213) Pedro Maldonado, Spain (Ref No.221) Bernd Holzgruber, Austria (Ref No.222) Shin-Ichi Fukuda - Hermann Hauser II, Germany, 1961 (Ref No.139) * Robert Bouchet, France, 1966 (Ref No.27, Ref No.185, Ref No.192) Ignacio Fleta, Spain (Ref No.140) Robert Ruck, U.S.A., 1985 (Ref No.141) Masaru Kohno, Japan, late 1990s (Ref No.142) Paul Galbraith - David Rubio, England (Ref No.62) Details on the Rubio guitars : 1989 8-string, * 1995 8-string, with resonance box made by Antonio Tessarim, Brazil. (Ref No.143, Ref No.193) Kevin Gallagher - Gregory Byers, U.S.A. (Ref No.15) Ricardo Gallen - Paco Santiago Marin, Spain (Ref No.204) Lourdes Uncilla Moreno, Spain (Ref No.205) Gerald Garcia - Greg Smallman, Australia Oscar Ghiglia - Robert Bouchet, France * Ignacio Fleta, Spain Jose Ramirez III, Spain Masaki Sakurai, Japan (Ref No.144) Antigoni Goni - Olivier Fanton d'Andon, France (Ref No.57) Jose Romanillos, England, recording use (Ref No.60) Paul Gregory - Manuel Contreras, Spain Trevor Semple, England, Series 88 Slava Grigoryan - Simon Marty, Australia (Ref No.48) Antonio Marin Montero, Spain (Ref No.256) Stefano Grondona - (Ref No.194) * Antonio de Torres, Spain (Ref No.145, Ref No.195) Robert Bouchet, France (Ref No.146) Ignacio Fleta, Spain (Ref No.147) Luca Waldner, Italy, spruce-top Torres-style (Ref No.249) Robert Guthrie - Dieter Hopf, Germany Masaru Kohno, Japan Tom Blackshear, U.S.A. (Ref No.42) Maria Esther Guzman - Arcangel Fernandez, Spain (Ref No.148) Franz Halasz - Simon Marty, Australia (Ref No.99) Nicola Hall - (Ref No.88) Paul Fischer, England Greg Smallman, Australia Christopher Dean, England (Ref No.59) Ignacio Fleta, Spain (Ref No.149) Frederic Hand - John Gilbert, U.S.A. Josep Henriquez - Ignacio Fleta, Spain Robin Hill - David Rubio, England (Ref No.318) Manuel Contreras, Spain (Ref No.319) Greg Smallman, Australia (Ref No.320) Miguel Rodriguez, Spain (Ref No.321) Evan Hirschelman - David Daily, U.S.A. (Ref No.37) John Holmquist - G.V. Rubio, U.S.A. (Ref No.61) Adam Holzman - Thomas Humphrey, U.S.A., 1987 Mikio Hoshida - Ignacio Fleta, Spain Dimitri Illarionov - Frank-Peter Dietrich, Germany (Ref No.220) Antonio de Innocentis - Peter Oberg, U.S.A., Cedar (Ref No.228) Eduardo Isaac - Dominique Field, France (Ref No.25) Sharon Isbin - * Thomas Humphrey, U.S.A., 1981, 1989, Millennium model (Ref No.107H) Masaru Kohno, Japan, 1978 Model 50 Dejan Ivanovic - Zelimir Sever, Croatia (Ref No.100) William Kanengiser - Paul Jacobson, U.S.A. Miguel Rodriguez, Spain, 1977, Church Door Jose Ramirez III, Spain Thomas Humphrey, U.S.A., Millennium model (Ref No.7, Ref No.107I) Hubert Kappel - Ignacio Fleta, Spain John Gilbert, U.S.A. Thomas Humphrey, U.S.A. Masaru Kohno, U.S.A. Kolya Panhuyzen, Canada Alkis, Greece, spruce top (Ref No.257) Liikanen, Finland (Ref No.258) Peter & Zoltan Katona - John Dick, U.S.A. (Ref No.52) Dale Kavanagh - Kolya Panhuyzen, Canada (Ref No.55) Roland Scharbatke, Germany (Ref No.56) Marcelo Kayath - Ignacio Fleta, Spain Tom Kerstens - Manuel Contreras, Spain, 1988, Anniversary model Antonio Marin Montero, Spain, 1990, Bouchet model Eleftheria Kotzia - Jose Romanillos, England Kevin Aram, England (Ref No.24) Norbert Kraft - Paulino Bernabe, Spain Daniel Friederich, France (Ref No.259) Alexandre Lagoya - Paulino Bernabe, Spain Robert Bouchet, France Ignacio Fleta, Spain * Dieter Hopf, Germany, La Portentosa model Masaru Kohno, Japan Jose Ramirez III, Spain Daniel Friederich, France, S/N: 414 (1975) (Ref No.241) Tom Leisek - Gregory Byers, U.S.A. (Ref No.41) David Leisner - John Gilbert, U.S.A. Wolfgang Lendle - Robert Ruck, U.S.A., cedar (Ref No.96) Gerhard Oldiges, Germany, spruce (Ref No.97) Carlos Barbosa-Lima - Thomas Humphrey, U.S.A., Millennium model (Ref No.107J) Francisco Munhoz, Brazil (Ref No.217) Andres Caruncho, U.S.A., 2 guitars from this maker, one Cedar (Ref No.235) Richard Prenkert, U.S.A. (Ref No.251) Dagoberto Linhares - Ignacio Fleta, Spain Miguel Llobet - Antonio de Torres, Spain, 1888 (Ref No.71) Paco de Lucia - Conde Hermanos, Spain, Flamenco Negra Gerundino Fernandez, Spain, Flamenco Lester Devoe, U.S.A (Ref No.28) Virginia Luque - Hermann Hauser, Germany, 1933 (Ref No.101) Joaquin Garcia, Spain, 1986 (Ref No.102) Santos Hernandez, Spain, 1903, flamenco, the luthier's personal guitar (Ref No.103) Arcangel Fernandez, Spain, 1960, flamenco (Ref No.104, Ref No.184) Jose Ramirez, Spain, 1963, flamenco (Ref No.105) Ivor Mairants - Ignacio Fleta, Spain Jose Maria Gallado del Rey - Manuel Contreras, Spain Martha Masters - Paulino Bernabe, Spain (Ref No.17) Tezanos-Perez, Spain (Ref No.18) Vladimir Mikulka - Ignacio Fleta, Spain, 1979 Thomas Humphrey, U.S.A., Millennium model (Ref No.107K) Robert Russell, England Jose Ramirez III, Spain (Ref No.150) Dominique Field, France (Ref No.151) Masaru Kohno, Japan (Ref No.211) Daniel Friederich, France, S/N: 613 (1986) and 716 (1994) (Ref No.246) Mikhail Robert, Canada (Ref No.306) John Mills - David Rubio, England, 1969 (Ref No152) John Claughton, England Bert Kwakkel, Holland, maple Paul Fischer, England (Ref No.58) Earl S. Marsh, England, spruce/Indian (Ref No.208) Masaru Kohno, Japan (Ref No.210) Montes-Kircher Duo - Walter J Vogt, Germany (Ref No.255) Jorge Morel - Don Banzer, U.S.A. * Dieter Hopf, Germany, 1986, Virtuoso Manuel Velazquez, U.S.A., 1957, given away to Chet Atkins and returned by Atkin's wife after Atkin's passing) (Ref No.153) John Price, Australia (Ref No.154) Yasmin & Lou Mowad - Douglas Ching, U.S.A. Martin Myslivecek - Masaru Kohno, Japan, 1950, Model 50 Santiago Navascues - Jose Ramirez III, Spain Michael Newman - Thomas Humphrey, U.S.A. Douglas Niedt - Jose Ramirez III, Spain Craig Ogden - Greg Smallman, Australia, 2003 (Ref No.223) Stein-Erik Olsen - Daniel Friederich, France Laura Oltman - Thomas Humphrey, U.S.A. Jorge Oraison - Thomas Humphrey, U.S.A. Elena Papendreou - Jose Romanillos, England (Ref No.16) Christopher Parkening - Jose Ramirez III, Spain, 1966, 1967 MT, cedar 1962, 1964, spruce 73, cedar Paco Pena - Gerundino Fernandez, Spain, Flamenco Douglas Ching, U.S.A. Ignacio Fleta, Spain Arcangel Fernandez, Spain, Flamenco (Ref No.155) Judicael Perroy - Greg Smallman, Australia (Ref No. 250) Alvaro Pierri - Daniel Friederich, France, * mid-1970s cedar, 2000 spruce; S/N: 434 (1976), 557 (1982), 594 (198?) (Ref No.196, Ref No.243) Franco Platino - Gregory Byers, U.S.A., recording use (Ref No.39) Matthias Dammann, Germany (Ref No.252) Alberto Ponce - Ignacio Fleta, Spain Ida Presti - Robert Bouchet, France (Ref No.83) Sonja Prunnbauer - Kolya Panhuyzen, Canada Emilio Pujol - Robert Bouchet, France (Ref No.305) Ivan Putilin - Hermann Hauser III, Germany (Ref No.65B) Konrad Ragossnig - Yamaha, Japan, Model GC-30 A, cedar, built by Toshio Katoh (Ref No.207) Daniel Friederich, France, S/N: 424 (1975) and 439 (1976) (Ref No.242) Stephen Rak - Yamaha, Japan, Model GC-70C Greg Smallman, Australia (Ref No.156) Manuel Lopez Ramos - Robert Bouchet, France Shelton-Farretta, U.S.A. (Ref No.73) Joaquin Garcia, Spain (Ref No.74) Marc Regnier - Y. Imai, Japan (Ref No.53) Richard Howell, Australia, recording use on "Canco del Lladre" (Ref No.92) Robert Ruck, U.S.A. (Ref No.232) Jose Rey de la Torre - Francisco Simplicio, Spain (Ref No.81) Hermann Hauser, Germany (Ref No.82) Manuel Velazquez, U.S.A., 1950s (Ref No.157) Michael Cone, U.S.A., 1976 (Ref No. 224) Kurt Rodarmer - Richard Schneider, U.S.A. (Ref No.158) Angel Romero - Hermann Hauser Jr., Germany (Ref No.65C) Hermann Hauser III, Germany, cedar (Ref No.65D) * Miguel Rodriguez, Spain Gioachino Giussani, Italy (Ref No.8) Daniel Friederich, France (Ref No.159) Mikhail Robert, Canada (Ref No.307) Celin Romero - Richard Brune, U.S.A., 1989, Artist model Miguel Rodriguez, Spain Hermann Hauser I, Germany (Ref No.160) Hermann Hauser II, Germany (Ref No.161) Hermann Hauser III, Germany (Ref No.162) Daniel Friederich, France (Ref No.300) Pepe Romero - Rene Baarslag, Spain Richard Brune, U.S.A., 1989, Artist model Manuel Contreras, Spain, 25th Anniversary model Lester Devoe, U.S.A. Hermann Hauser, Germany (Ref No.65E) Hermann Hauser Jr., Germany (Ref No.65F) * Miguel Rodriguez, Spain, Church Door Gioachino Giussani, Italy (Ref No.9) Pepe Romero Jr., U.S.A. (Ref No.10) Dake Traphagen, U.S.A., 3 guitars from this luthier (Ref No.87) Antonio de Torres, Spain (Ref No.163) Jose Romanillos, England (Ref No.164) David Russell - Jose Ramirez III, Spain (Ref No.165) John Gilbert, U.S.A., 1980 (Ref No.166) Gregory Byers, U.S.A. (Ref No.11) Matthias Dammann, Germany. (Ref No.12) Michael Gee, England (Ref No.31) Regino Sainz de la Maza - Santos Hernandez, Spain (Ref No.167) Hernandez y Aguado, Spain (Ref No.168) George Sakellariou - John Gilbert, U.S.A. Michael Cone, U.S.A., 1986 (Ref No.225) Michel Sandanowsky - Daniel Friederich, France, S/N: 402 and 550 (1982) (Ref No.240) Marco De Santi - Jose Romanillos, England Turibio Santos - Daniel Friederich, France, S/N: 328 (1972) and 378 (1974) (Ref No.237) Robert Bouchet, France (Ref No.304) Karin Schaupp - Simon Marty, Australia (Ref No.98) Andres Segovia - Richard Brune, U.S.A., 1984, Artist model Ignacio Fleta, Spain Hermann Hauser, Germany, 1937 Hermann Hauser Jr., Germany, 1956 (Ref No.65G) Jose Ramirez III, Spain, 1960, 1963, 1967 MT cedar (Ref No.197) Jose Ramirez IV, Spain, 1987 (Ref No.169, Ref No.198) Manuel Ramirez, Spain, 1912, built by Santos Hernandez (Ref No.66) Diego Gracia, Argentina, 1940, 2 guitars from this luthier, spruce/braz (Ref No.67) Benito Ferrer, Spain, Segovia's 1st guitar, student model (Ref No.106) Seppo Siirala - Ignacio Fleta, Spain Raphaella Smits - John Gilbert, U.S.A., 8-string (Ref No.170) Vincente Arias, Spain, late 19th century (Ref No.171) Mirecourt, France (Ref No.301) Francois Roudhloff, France (Ref No.302) Goran Sollscher - Jose Ramirez III, Spain, cedar (Ref No.172) Georg Bolin, Sweden, 11-string (Ref No.173) Yoshimitsu Hoshino, Japan, 1987 (Ref No.174) Masaki Sakurai, Japan, 1990s (Ref No.175) David Starobin - Thomas Humphrey, U.S.A., no longer played since 1988 (Ref No.75A) * Gary Southwell, England (Ref No.75B) Hermann Hauser, Germany, 1923 (Ref No.76) Rene Lacote, France, 1844 (Ref No.77) Daniel Friederich, France, 1971 (Ref No.78) Esther Steenbergen - Otto Vowinkel, Holland (Ref No.33) Pavel Steidl - J.G. Ries (Ref No.303) Ichiro Suzuki - * Ignacio Fleta, Spain (Ref No.199) Manuel Velazquez, U.S.A. (Ref No.176) Ernesto Tamayo - David Daily, U.S.A., 1995 (Ref No.177) David Tanenbaum - John Gilbert, U.S.A. Thomas Humphrey, U.S.A., Millennium model (Ref No.107L) Daniel Friederich, France (Ref No.22) Greg Smallman, Australia (Ref No.23) Gregory Byers, U.S.A. (Ref No.26) Gary Southwell, England, 2 guitars from this luthier (Ref No.63) Francisco Tarrega - Antonio de Torres, Spain, 1858 (Ref No.70) Scott Tennant - Daniel Friederich, France, 1990, cedar * Paul Jacobson, U.S.A., cedar Matthias Dammann, Germany (Ref No.13) Jeff Traugott, U.S.A. (Ref No.19) Dake Traphagen, U.S.A. (Ref No.46) Eric Sahlin, U.S.A., 1993; 2002 cedar/Braz (Ref No.85) Simon Marty, Australia (Ref No.91) David Daily, U.S.A. (Ref No.178) Jose Ramirez, Spain (Ref No.309) Jose Tomas - Jose Ramirez III, Spain, 8-string Michael Troester - Dieter Hopf, Germany (Ref No.231) Benjamin Verdery - Douglas Ching, U.S.A. John Gilbert, U.S.A. Thomas Humphrey, U.S.A. * Greg Smallman, U.S.A. Ana Vidovic - Zeljko Sever, Croatia (Ref No.80) Robert Ruck, U.S.A. (Ref No.218) Jason Vieaux - Paul Fischer, England, Taut model (Ref No.29) G.V. Rubio, U.S.A., Hauser model, spruce (Ref No.30) Dake Traphagen, U.S.A., recording use (Ref No.47) Victor Villadangos - Maria & Osvaldo Bragan, Argentina, 'Enrique Garcia 1906' model, used on 'Music from Argentina' and 'Tangos from Argentina' CDs (Ref No.310) John Williams - Edgar Monch, Germany/Canada (Ref No.179) Robert Bouchet, France Hernandez & Aguado, Spain, sold in late 1960s Martin Fleeson, England Ignacio Fleta, Spain, 1961, sold in 1980 * Greg Smallman, Australia, 1982, 1988 Peter Wiltschinsky - David Rubio, England (Ref No.322) Manuel Contreras, Spain (Ref No.323) Greg Smallman, Australia (Ref No.324) Richard Wright - Ignacio Fleta, Spain Jose Romanillos, England Gerd Wuestemann - Gregory Byers, U.S.A. (Ref No.45) Robert Ruck, U.S.A. (Ref No.40) Yang Xuefei - * Greg Smallman, Australia, cedar (Ref No.34, Ref No.200) Masaru Kohno, Japan (Ref No.35) Jose Romanillos, England, recording use (Ref No.36) Antonio Raya Pardo, Spain (Ref No.180) Juan Hernandez, Spain, Especial Model (Ref No.325) Kazuhito Yamashita - * Jose Ramirez III, Spain (Ref No.201) Christopher Savino, U.S.A. Wang Yameng - Greg Smallman, Australia (Ref No.44) Stanley Yates - Augustino LoPrinzi, U.S.A., Nova Futura model (Ref No.64) Kenny Hill, U.S.A., Munich model (Ref No.72) Simon Marty, Australia (Ref No.248) William Yelverton - Robert Ruck, U.S.A., 1990, cedar (Ref No.51) Narcisco Yepes - Marcero Barbero I, Spain, 6-string (Ref No.181) * Paulino Bernabe, Spain, 10-string Thomas Humphrey, U.S.A., Millennium model, 10-string (Ref No.107M) Jose Ramirez III, Spain, 10-string Ignacio Fleta, Spain, 6-string (Ref No.182) Manuel Contreras I, 10-string (Ref No.183) Andrew York - Eric Sahlin, U.S.A., cedar David Daily, U.S.A. (Ref No.14) Fabio Zanon - Sergio Abreu, Brazil, 1986 (Ref No.214) Daryl Perry, Canada, 2000 (Ref No.215) Roberto Gomes, Brazil, 2002, "Spiritus" model (Ref No.216) Luis Zea - Daniel Friederich, France, S/N: 522 (1980) (Ref No.245) Milan Zelenka - Masaru Kohno, Japan Frederic Zigante - Masaru Kohno, Japan, 1987 (Ref No.209) Ignacio Fleta, Spain (Ref No.219) (more to be added...) References Ref No.1 : hyz, 15 Nov 2002 Ref No.2 : Evan Pyle, 05 Oct 2002 Ref No.3 : Evan Pyle, 05 Oct 2002 Ref No.4 : Evan Pyle, 05 Oct 2002 Ref No.5 : hyz, 15 Nov 2002 - added in the year and top Ref No.6 : Evan Pyle, 05 Oct 2002 Ref No.7 : Evan Pyle, 05 Oct 2002 Ref No.8 : Evan Pyle, 05 Oct 2002 Ref No.9 : Evan Pyle, 05 Oct 2002 Ref No.10 : Evan Pyle, 05 Oct 2002 Ref No.11 : Evan Pyle, 05 Oct 2002 Ref No.12 : Evan Pyle, 05 Oct 2002 Ref No.13 : Evan Pyle, 05 Oct 2002 Ref No.14 : Evan Pyle, 05 Oct 2002 Ref No.15 : Evan Pyle, 05 Oct 2002 Ref No.16 : Evan Pyle, 05 Oct 2002 Ref No.17 : Evan Pyle, 05 Oct 2002 Ref No.18 : Evan Pyle, 05 Oct 2002 Ref No.19 : Jeff Carter, 05 Oct 2002 Ref No.20 : Jeff Carter, 05 Oct 2002 Ref No.21 : Jeff Carter, 05 Oct 2002 Ref No.22 : Ed A., 05 Oct 2002 Ref No.23 : hyz, 15 Nov 2002 Ref No.24 : hyz, 15 Nov 2002 Ref No.25 : hyz, 15 Nov 2002 Ref No.26 : hyz, 15 Nov 2002 Ref No.27 : hyz, 15 Nov 2002 Ref No.28 : hyz, 15 Nov 2002 Ref No.29 : hyz, 15 Nov 2002 Ref No.30 : hyz, 15 Nov 2002 Ref No.31 : hyz, 15 Nov 2002 Ref No.32 : hyz, 15 Nov 2002 Ref No.33 : hyz, 15 Nov 2002 Ref No.34 : hyz, 15 Nov 2002 Ref No.35 : hyz, 15 Nov 2002 Ref No.36 : hyz, 15 Nov 2002 Ref No.37 : hyz, 15 Nov 2002 Ref No.38 : hyz, 15 Nov 2002 Ref No.39 : hyz, 15 Nov 2002 Ref No.40 : Evan Pyle, 05 Oct 2002 Ref No.41 : hyz, 15 Nov 2002 Ref No.42 : hyz, 15 Nov 2002 Ref No.43 : hyz, 15 Nov 2002 Ref No.44 : hyz, 15 Nov 2002 Ref No.45 : hyz, 15 Nov 2002 Ref No.46 : hyz, 15 Nov 2002 Ref No.47 : hyz, 15 Nov 2002 Ref No.48 : hyz, 15 Nov 2002 Ref No.49 : hyz, 15 Nov 2002 Ref No.50 : hyz, 15 Nov 2002 Ref No.51 : hyz, 15 Nov 2002 Ref No.52 : hyz, 15 Nov 2002 Ref No.53 : hyz, 15 Nov 2002 Ref No.54 : hyz, 15 Nov 2002 Ref No.55 : hyz, 15 Nov 2002 Ref No.56 : hyz, 15 Nov 2002 Ref No.57 : hyz, 15 Nov 2002 Ref No.58 : hyz, 15 Nov 2002 Ref No.59 : hyz, 15 Nov 2002 Ref No.60 : John Wasak on RMCG on 15 Nov 2002, based on 3 of Antigoni Goni's Naxos CDs; Richard Jernigan on www.acousticguitar.com "Classical Corner" forum on 15 Nov 2002. Ref No.61 : John Wasak on RMCG on 15 Nov 2002, based on John Holmquist's Naxos CD of Gerald Garcia's Etudes. Ref No.62 : John Wasak on RMCG on 15 Nov 2002. Ref No.63 : hyz, 16 Nov 2002, based on Dec 1998 edition of "Classical Guitar" magazine. Ref No.64 : Richard Isaacs, 15 Nov 2002, via email to hyz, based on link to Roger Thurman's site at the URL : http://members.aol.com/_ht_a/rogluthier/NovaArtists.html Ref No. 65A-65G : David Norton, 15 Nov 2002, pointed out to hyz via email that there were some entries for the Hausers spelt "Herman Hauser" when it should be "Hermann Hauser". hyz apologises for the typo. Ref No.66 : David Norton, 15 Nov 2002, via email to hyz. Ref No.67 : David Norton, 15 Nov 2002, via email to hyz. Ref No.68 : David Norton, 15 Nov 2002, via email to hyz. Ref No.69 : David Norton, 15 Nov 2002, via email to hyz. Ref No.70 : David Norton, 15 Nov 2002, via email to hyz. Ref No.71 : David Norton, 15 Nov 2002, via email to hyz. Ref No.72 : David Norton, 15 Nov 2002, via email to hyz. Ref No.73 : John Shelton, 15 Nov 2002, via email to hyz. Ref No.74 : John Shelton, 15 Nov 2002, via email to hyz. Ref No.75A-75B : David Starobin, 15 Nov 2002, via email to hyz, main instrument (denoted by asterisk) is currently Southwell and not Humphrey. Ref No.76 : David Starobin, 15 Nov 2002, via email to hyz. Ref No.77 : David Starobin, 15 Nov 2002, via email to hyz. Ref No.78 : David Starobin, 15 Nov 2002, via email to hyz. Ref No.79 : Lutester (Robert) on RMCG on 16 Nov 2002. Ref No.80 : Lutester (Robert) on RMCG on 16 Nov 2002. Ref No.81 : Lutester (Robert) on RMCG on 16 Nov 2002. Ref No.82 : Lutester (Robert) on RMCG on 16 Nov 2002. Ref No.83 : Lutester (Robert) on RMCG on 16 Nov 2002. Ref No.84 : David Norton, 16 Nov 2002, via email to hyz. Ref No.85 : David Norton, 16 Nov 2002, via email to hyz. Ref No.86 : David VanVranken, 16 Nov 2002, via email to hyz. Ref No.87 : Dake Traphagen, 16 Nov 2002, via email to hyz. Ref No.88 : Sidheguitarist on www.acousticguitar.com "Classical Corner" forum on 15 Nov 2002, changed typo from "Nicolo" to "Nicola". Ref No.89 : Tom Corrado, 17 Nov 2002, via email to hyz. Ref No.90 : cyt, 17 Nov 2002, via email to hyz. Ref No.91 : cyt, 17 Nov 2002, via email to hyz. Ref No.92 : cyt, 17 Nov 2002, via email to hyz. Ref No.93 : cyt, 17 Nov 2002, via email to hyz. Ref No.94 : cyt, 17 Nov 2002, via email to hyz. Ref No.95 : Chantalak Lacharoj, 18 Nov 2002, via email to hyz. Ref No.96 : Chantalak Lacharoj, 18 Nov 2002, via email to hyz. Ref No.97 : Chantalak Lacharoj, 18 Nov 2002, via email to hyz. Ref No.98 : Chantalak Lacharoj, 18 Nov 2002, via email to hyz. Ref No.99 : Pedro Ferreiro, 18 Nov 2002, via email to hyz, ref : BIS-CD-1075. Ref No.100 : Pedro Ferreiro, 18 Nov 2002, via email to hyz, ref : Naxos 8.557038. Ref No.101 : Beverly Maher, 18 Nov 2002, via email to hyz. Ref No.102 : Beverly Maher, 18 Nov 2002, via email to hyz. Ref No.103 : Beverly Maher, 18 Nov 2002, via email to hyz. Ref No.104 : Beverly Maher, 18 Nov 2002, via email to hyz. Ref No.105 : Beverly Maher, 18 Nov 2002, via email to hyz. Ref No.106 : John E. Golden on RMCG on 17 Nov 2002. Ref No.107A-107M : Seagovia, 20 Nov 2002, pointed out to hyz via email that "Millenium" should have been spelt as "Millennium". hyz apologises for the typo. Ref No.108 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.109 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.110 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.111 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.112 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.113 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.114 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.115 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.116 : hyz, 24 Nov 2002, based on Bonell's recital in Singapore Conference Hall in early Sep 2002. Ref No.117 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.118 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.119 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.120 : SoundsGA, 23 Nov 2002, via email to hyz, details on the Hermann Hauer I guitars. Ref No.121 : SoundsGA, 23 Nov 2002, via email to hyz, details on the Hermann Hauser II guitars. Ref No.122 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.123 : SoundsGA, 23 Nov 2002, via email to hyz, details on the Robert Bouchet guitars. Ref No.124 : SoundsGA, 23 Nov 2002, via email to hyz, added in the year "1965". Ref No.125 : SoundsGA, 23 Nov 2002, via email to hyz, added in the years "1965" and "1966". Ref No.126 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.127 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.128 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.129 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.130 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.131 : SoundsGA, 23 Nov 2002, via email to hyz, add in "early-mid 1980s". Ref No.132 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.133 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.134 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.135 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.136 : hyz, 24 Nov 2002, added in "1992" based on information in Roland Dyen's CD "Nuages". Ref No.137 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.138 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.139 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.140 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.141 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.142 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.143 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.144 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.145 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.146 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.147 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.148 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.149 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.150 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.151 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.152 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.153 : SoundsGA, 23 Nov 2002, via email to hyz, added in year and comments regarding Chet Atkins. Ref No.154 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.155 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.156 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.157 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.158 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.159 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.160 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.161 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.162 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.163 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.164 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.165 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.166 : SoundsGA, 23 Nov 2002, via email to hyz, added in "1980". Ref No.167 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.168 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.169 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.170 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.171 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.172 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.173 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.174 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.175 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.176 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.177 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.178 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.179 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.180 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.181 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.182 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.183 : SoundsGA, 23 Nov 2002, via email to hyz. Ref No.184 : SoundsGA, 23 Nov 2002, via email to hyz, correction from "Archangel" to "Arcangel". Ref No.185 : SoundsGA, 23 Nov 2002, via email to hyz, added in "1966". Ref No.186 : SoundsGA, 02 Dec 2002, via email to hyz. Ref No.187 : SoundsGA, 02 Dec 2002, via email to hyz. Ref No.188 : SoundsGA, 02 Dec 2002, via email to hyz. Ref No.189 : SoundsGA, 02 Dec 2002, via email to hyz, correction of year from "1966" to "1996". Ref No.190 : SoundsGA, 02 Dec 2002, via email to hyz, addition of "GC 30A" and "cedar". Ref No.191 : SoundsGA, 02 Dec 2002, via email to hyz, correction of the luthier's name. Ref No.192 : SoundsGA, 02 Dec 2002, via email to hyz, addition of asterisk to mark main instrument. Ref No.193 : SoundsGA, 02 Dec 2002, via email to hyz, addition of asterisk to mark main instrument. Ref No.194 : SoundsGA, 02 Dec 2002, via email to hyz, correction of player's name. Ref No.195 : SoundsGA, 02 Dec 2002, via email to hyz, addition of asterisk to mark main instrument. Ref No.196 : SoundsGA, 02 Dec 2002, via email to hyz. Ref No.197 : SoundsGA, 02 Dec 2002, via email to hyz, addition of "1960" and "1963". Ref No.198 : SoundsGA, 02 Dec 2002, via email to hyz, correction of year from "1984" to "1987". Ref No.199 : SoundsGA, 02 Dec 2002, via email to hyz, addition of asterisk to denote main instrument. Ref No.200 : SoundsGA, 02 Dec 2002, via email to hyz, addition of asterisk to denote main instrument. Ref No.201 : SoundsGA, 02 Dec 2002, via email to hyz, addition of asterisk to denote main instrument. Ref No.202 : SoundsGA, 02 Dec 2002, via email to hyz, correction of the luthier's name. Ref No.203 : Eduardo San Martin, 24 Dec 2002, via email to hyz, ref Naxos 8.555719. Ref No.204 : Eduardo San Martin, 24 Dec 2002, via email to hyz, ref Naxos 8.554832. Ref No.205 : Eduardo San Martin, 24 Dec 2002, via email to hyz, ref Naxos 8.555284. Ref No.206 : Eduardo San Martin, 24 Dec 2002, via email to hyz, information via oral communcation. Ref No.207 : Eduardo San Martin, 19 Jan 2003, via email to hyz, ref Claves Records CD 50-806. Ref No.208 : Bill Brooks, 12 Feb 2003, via email to hyz. Ref No.209 : hyz, 26 Apr 2003, ref pg 64 of "The Classical Guitar Book - A Complete History" published by Backbeat Books, ISBN 0-87930-725-0. Ref No.210 : hyz, 26 Apr 2003, ref pg 65 of "The Classical Guitar Book - A Complete History" published by Backbeat Books, ISBN 0-87930-725-0. Ref No.211 : hyz, 26 Apr 2003, ref pg 65 of "The Classical Guitar Book - A Complete History" published by Backbeat Books, ISBN 0-87930-725-0. Ref No.212 : hyz, 07 Sep 2003, attendance at Flavio Cucchi's seminar/masterclass on 06 Sep 2003, in Singapore. Ref No.213 : ToddK, 14 Sep 2003, via E-Borneo Classical Guitar Forum. Ref No.214 : Fabio Zanon, 14 Oct 2003, via email to hyz Ref No.215 : Fabio Zanon, 14 Oct 2003, via email to hyz Ref No.216 : Fabio Zanon, 14 Oct 2003, via email to hyz Ref No.217 : Antonino Jose Coutinho, 14 Oct 2003, via email to hyz Ref No.218 : Paiman Samimi, 02 Nov 2003, via email to hyz Ref No.219 : J. Lesmana, 25 Nov 2003, via email to hyz Ref No.220 : Pat Mailloux, 11 Dec 2003, on E-Borneo "Classical Guitar Forum". Ref No.221 : Bor Zuljan, 13 Dec 2003, via email to hyz Ref No.222 : Bor Zuljan, 13 Dec 2003, via email to hyz Ref No.223 : Rory Russell, 13 Dec 2003, via email to hyz Ref No.224 : Michael Cone, 13 Dec 2003, via email to hyz Ref No.225 : Michael Cone, 13 Dec 2003, via email to hyz Ref No.226 : Bor Zuljan, 25 Dec 2003, via email to hyz Ref No.227 : Fernando Lamas, 30 Dec 2003, via email to hyz, denoting the Gnatek as the main instrument. Ref No.228 : David Gaines, 11 Jan 2004, via email to hyz Ref No.229 : hyz, 21 Jan 2004, ref pg 14 of "Classical Guitar" magazine, Nov 2003 issue Ref No.230 : hyz, 21 Jan 2004, ref pg 24 of "Classical Guitar" magazine, Nov 2003 issue Ref No.231 : Dave Markle, 05 May 2004, via E-Borneo Classical Guitar Forum. Ref No.232 : Rene W., 05 May 2004, via E-Borneo Classical Guitar Forum. Ref No.233 : Armand Arnazzi, 03 May 2004, via email to hyz Ref No.234 : Armand Arnazzi, 03 May 2004, via email to hyz Ref No.235 : hyz, 04 Jun 2004, www.acousticguitar.com/issues/ag115/gear115.html Ref No.236 : Samer Roumieh, 07 Jul 2004, via email to hyz Ref No.237 : Richard Isaacs, 26 Jul 2004, mailed photocopy of Daniel Friederich's list titled "Important performer's names and serial numbers on the labels of my guitars, since 1972". Ref No.238 : Same as Ref No.237 Ref No.239 : Same as Ref No.237, added in the 2 serial numbers Ref No.240 : Same as Ref No.237 Ref No.241 : Same as Ref No.237 Ref No.242 : Same as Ref No.237 Ref No.243 : Same as Ref No.237, added in the 3 serial numbers Ref No.244 : Same as Ref No.237, added in the 4 serial numbers Ref No.245 : Same as Ref No.237 Ref No.246 : Same as Ref No.237 Ref No.247 : Same as Ref No.237, added in serial number Ref No.248 : hyz, 30 Jul 2004, based on posts in the "Classical Guitar Mailing List" Yahoo Group Ref No.249 : hyz, 05 Sep 2004, attendance at the 4th International Guitar Festival 2004 Singapore (01-05 Sep 2004) Ref No.250 : Sames as Ref No. 249 Ref No.251 : Sames as Ref No. 249 Ref No.252 : Cjsolo, 11 Oct 2004, on Acoustic Guitar's "Classical Corner" forum Ref No.253 : Samer Roumieh, 13 Oct 2004, via email to hyz Ref No.254 : hyz, 04 Nov 2004, "Classical Guitar" magazine, Sep 2004 edition Ref No.255 : hyz, 04 Nov 2004, "Classical Guitar" magazine, Aug 2004 edition Ref No.256 : Masaru Komura, 13 Dec 2004, via email to hyz Ref No.257 : "Classical Guitar" magazine, Dec 2004 Ref No.258 : "Classical Guitar" magazine, Dec 2004 Ref No.259 : "Classical Guitar" magazine, Dec 2004 Ref No.300 : "Classical Guitar" magazine, Dec 2004 Ref No.301 : "Classical Guitar" magazine, Nov 2004 Ref No.302 : "Classical Guitar" magazine, Nov 2004 Ref No.303 : "Classical Guitar" magazine, Nov 2004 Ref No.304 : "Classical Guitar" magazine, Sep 2004 Ref No.305 : "Classical Guitar" magazine, Sep 2004 Ref No.306 : Mikhail Robert, via email to hyz on 21 Dec 2004 Ref No.307 : Mikhail Robert, via email to hyz on 21 Dec 2004 Ref No.308 : Mikhail Robert, via email to hyz on 21 Dec 2004 Ref No.309 : Ron Schwartz, via email to hyz on 23 Dec 2004 Ref No.310 : Samer Roumieh, 27 Feb 2005, via email to hyz Ref No.311 : Piero Bonaguri, 10 Mar 2005, via email to hyz Ref No.312 : Piero Bonaguri, 10 Mar 2005, via email to hyz Ref No.313 : Piero Bonaguri, 10 Mar 2005, via email to hyz Ref No.314 : Piero Bonaguri, 10 Mar 2005, via email to hyz Ref No.315 : Piero Bonaguri, 10 Mar 2005, via email to hyz Ref No.316 : Piero Bonaguri, 10 Mar 2005, via email to hyz Ref No.317 : Piero Bonaguri, 10 Mar 2005, via email to hyz Ref No.318 : Robin Hill, 25 Mar 2005, via email to hyz Ref No.319 : Robin Hill, 25 Mar 2005, via email to hyz Ref No.320 : Robin Hill, 25 Mar 2005, via email to hyz Ref No.321 : Robin Hill, 25 Mar 2005, via email to hyz Ref No.322 : Robin Hill, 25 Mar 2005, via email to hyz Ref No.323 : Robin Hill, 25 Mar 2005, via email to hyz Ref No.324 : Robin Hill, 25 Mar 2005, via email to hyz Ref No.325 : Willie Yap, 21 Jun 2005, via email to hyz
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REPORT THIS POST AS INAPPROPRIATE |
Date Sep. 23 2007 9:36:44
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Ron.M
Posts: 7051
Joined: Jul. 7 2003
From: Scotland
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RE: The Guitars of Notable Classical... (in reply to Guest)
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I've said this many times before.. There are "good" guitars properly made by experienced and enthusiastic Luthiers... And there are rubbish, cheap guitars with no tone and horrible action etc. (These ones will hold you back and maybe even make you lose interest altogether.) As to which Luthier one prefers...or rather which guitar you try out at the time which "speaks" to you and feels comfortable too, that's often a matter of chance and personal taste IMO. I've tried many famous name guitars and on every one I've sounded exactly the same, save for a few nice overtones or nice action, but I've never sounded even close to the owners. Great guitars have hidden tones that have to be brought out by the experience of the player, otherwise they are lost and just sound mediocre. My advice is...always get the best guitar you can afford, preferably by a known Luthier. Guitars are inexpensive and last a long time, in comparison with ..say cars and other consumer rubbish.. Don't think a great guitar will make you play great. The potential is under the hood.. But you need to learn how to drive it first... If you wanna be a Formula 1 driver, it's probably better practising on an F1 car every day, rather than a shopping car and slowly work your way up. My opinion anyway... cheers, Ron
_____________________________
A good guitar might be a good guitar But it takes a woman to break your heart
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REPORT THIS POST AS INAPPROPRIATE |
Date Sep. 24 2007 21:15:37
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Ricardo
Posts: 14889
Joined: Dec. 14 2004
From: Washington DC
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RE: The Guitars of Notable Classical... (in reply to wiseguy493)
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quote:
You may find a cedar top that is even more bassy than a particular spruce top (although this is rare and uncharacteristic for cedar, it has been done). You may also find a spruce top that has been braced and voiced so that is very bright, and many flat top spruce guitars can be that way. Some luthiers prefer to make flat topped guitars, and they do it with a lot of precision and control over the rigidity of the top (resulting in a very distinct tone). I don't make flat tops, I prefer more various densities to achieve tones, Wow, I have played guitar for a long time, and owned some different types of guitars, but I don't really understand what you are saying! What is an example of a "flat topped" classical guitar? I thought they ALL are flat top, and the opposite being an archtop guitar??? And I don't associate bassy or not sound to the top, but more the back and sides. Like, a big guitar is deeper with more bass, a skinny guitar is thinner body and less bass. Cypress tends to be less bassy the same size as a rosewood guitar etc. But for Cedar, I felt they were sweeter or mellower, and Spruce brighter or more clearity and definition...that is when I KNOW the wood type and make comparisons. And to both GB and wiseguy, yes I played guitars that were crap to me but the love of the owner. And vice versa, not everyone likes my personal favorite guitar. I have one negra that EVERYONE seems to love, and though I love it too, it is not my favorite. Also I find when I play a good guitar of someone else, I forget about how good my guitar is until I get it in my hands again. Even think about trading sometimes, then I take my guitar and go "what was I HEARING????". Strange. Ricardo
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REPORT THIS POST AS INAPPROPRIATE |
Date Sep. 26 2007 17:53:57
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wiseguy493
Posts: 73
Joined: May 9 2007
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RE: The Guitars of Notable Classical... (in reply to flamenco_9)
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By "flat top" I was referring to tops of even thickness throughout, where other luthiers make tops with varying degrees of thickness. Of course they are all flat on top so I should've clarified what I meant, I hadn't thought about how it would be read! Every luthier has their own approach and their own ideas. Here are some of mine, which I hope will be accurate =) I think the majority of flamenco luthiers prefer a top of somewhat even thickness. I learned the variable thickness approach because I made violins before I made guitars and violins are always variable thickness on back, sides and top (I use even thickness on the sides, and slightly varied thicknesses on the back) Assuming that because a guitar is big makes it more bassy is a general conclusion to draw and will apply to many guitars. A small bodied guitar with a top of variable thickness that is intended to sound bassier can sound even more bassy than a large guitar with an even top, and have more clarity to it, although probably not as much volume, if the guitars are built equally well and with congruent bracing patterns. Some sections of the guitar will resonate more low frequencies than high frequencies because of the way the sound waves travel. Low frequencies travel in broader waves, while high frequencies travel in tight waves. If you visualize this movment, you can see that lower frequencies will not contact the soundboard as frequently as high frequencies, but they will contact with much more force when they do. This makes the work of determining which points the bass frequencies' broader wavelengths will contact more of a mathematical equation, but of course most choices in luthiery are a matter of experience and learning what works and what doesn't rather than following a set plan with strict guidelines (and obviously limitations from this strictness) quote:
A rule of thumb (i.e. rule has no value) is "as you thin the top and braces you get more volume, more bass and less brilliance". Is a good rule that applies to all guitars. The larger a guitar is, the more this rule will apply. The loss of brilliance (or clarity) is caused by phase cancellation.... from wikipedia: When two or more waves (vibrations) in a medium pass through a specific point at a specific time, they will all simultaneously try to move the medium there in the directions of their current vibration displacements (phases) and to distances from the medium's steady state position equal to their various displacements at that instant (magnitudes), adding their energies together — if they are vibrating such that the force on the medium at that instant from one or more vibrations is in opposite directions (opposing phases) from the other or others, the medium will be moved less from its resting state (phase cancellation will occur to some extent); if the opposed vibrations at that instant are exactly equal and opposite, the medium will not move at all (complete phase cancellation will occur) and it would be as if the various vibrations did not exist then and there The loss of brilliance is in that more of the soundboard is vibrating, so more waves are projecting in different directions. By the same logic, the larger the body of the guitar, the further these waves travel before being projected back through the sound board and the more out of phase they will be when they are projected out of the top.
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REPORT THIS POST AS INAPPROPRIATE |
Date Sep. 28 2007 19:00:13
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a_arnold
Posts: 558
Joined: Jul. 30 2006
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RE: The Guitars of Notable Classical... (in reply to Ricardo)
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Ricardo, John Shelton is spot on with his description of how guitars are arched. As I'm sure you know, this is completely different than the strong arching one sees in a lot of American steel-stringed (usually f-holed) guitars. Torres' guitars were arched as John S. describes, as were the guitars of his predecessors and contemporaries in Spain, but it is a subtle arch -- a few mm. Lay a straight-edge parallel to your bridge and it will be obvious. I have seen 19th century Andalucian gut-strung guitars in the Smithsonian collection (when I worked in their instrument restoration lab) that had 2 cm of arch. EXCEPTION -- Manuel Ramirez started building nearly flat-topped guitars in the 60's. Segovia's guitar was one, and it was so widely copied that a trend toward flat tops started and arched tops almost disappeared in the "Madrid School" during that time, and they still tend to be flatter than the Granada school. These near-flat guitars were a departure from Jose Ramirez I guitars, which were arched like Torres'. Segovia's M. Ramirez had a cedar top, too, and I've heard it said that the reason M. Ramirez started making those flat tops was that cedar was too stiff to bend easily; luthiers: is this true in your experience? I have an arched cedar, and I don't think they are a particular rarity these days. Dieter Hopf makes cedar tops and is renowned for his precise control of the arching, but his are designed to draw level under tension. His principle seems to be that the top should be just strong enough to resist deformation by string tension (no stronger) and free to vibrate in both directions. Cedar tops were virtually unknown before M. Ramirez, but they got a reputation for loudness that made them popular with professionals who followed Segovia into the large concert halls. My personal experience tells me the loudness difference is overrated, if not fictional. Of course nowadays, there are a lot of cedar-topped negras and classicals made, but cedar-topped blancas are a relative rarity, at least before the 80's. I' be interested in the Foro luthiers' opinions, but I suspect the arch works like an architectural arch to stiffen the top and force it to vibrate as a "rigid" unit -- at least more so than a flat top would, which is structurally more free to bow inward and outward in response to string vibration. Thinning an arched top at the edges and arching it in the middle causes the whole top to (tend to) move as a unit since it CAN'T flex inward (much) any more than an architectural arch could, so it flexes more around the edges, while a flat top tends to "flap" both inward and outward. (Think of the whole arched top jumping up and down rather than flapping in and out). I'm exaggerating the difference, obviously, since cedar tops (reportedly) compensate by gaining stiffness from the material rather than from the arch design (so take words like "flap" and "rigid" as illustrative hyperbole) but I think this structural behavior may be responsible for the greater punch in arched-topped (mostly spruce) guitars. They can be thinner (Huber reports that flat cedar tops average 10% thicker than spruce) and yet still be stiff; less mass means they accelerate faster in response to bridge vibration. The arch architecture means they accelerate as a unit. Sounds like a recipe for punch to me. Anyway, the Granada school generally stuck with the (Torres/Jose Ramirez I) arched design. Shifting bracing around can result in refinements (Mike Kasha, a physicist here at Florida State U., where I teach (not music), developed some pretty radical brace design innovations that really made his guitars loud, but the off-center hole looks too unconventional for my taste), but I will go out on a limb and say that the combined effect of the arch and the reduced mass on sound is major (compared with fan bracing arrangement). Huber's book says that the Granada school arched top is much more sensitive to string selection (compared with flat cedar) because of this tendency to vibrate as a whole unit. I'm not quite sure I understand why that should be, but my guitars (all but one are arched spruce) do sound very different with different strings. The cedar one (Rafael Morales of Granada, 1972, also arched) doesn't seem to change much with different strings.
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Date Sep. 28 2007 22:26:00
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Ricardo
Posts: 14889
Joined: Dec. 14 2004
From: Washington DC
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RE: The Guitars of Notable Classical... (in reply to a_arnold)
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quote:
Segovia's M. Ramirez had a cedar top, too, and I've heard it said that the reason M. Ramirez started making those flat tops was that cedar was too stiff to bend easily; Really?? In Ramirez's book, he says he made a couple of guitars for segovia, BEFORE discovering Thuja Plicata (sp?) or Red Cedar for the top. Implying guitars were ALWAYS made with spruce before that. Unless you mean a different kind of Cedar??? Not real sure, but I assumed spruce was the wood in M. Ramirez's day. OH, unless you mean J ramirez III, not M.??? Thanks for all the other info. yeah, now I see that little arch in my guitars, but I knew it was there, but thought it was just natural wavieness in the top do to strings pulling the bridge and stuff.
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Date Sep. 30 2007 0:08:26
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RobJe
Posts: 731
Joined: Dec. 16 2006
From: UK
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RE: The Guitars of Notable Classical... (in reply to a_arnold)
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quote:
ORIGINAL: a_arnold Segovia's M. Ramirez had a cedar top, too, and I've heard it said that the reason M. Ramirez started making those flat tops was that cedar was too stiff to bend easily; luthiers: is this true in your experience? I have an arched cedar, and I don't think they are a particular rarity these days. Dieter Hopf makes cedar tops and is renowned for his precise control of the arching, but his are designed to draw level under tension. His principle seems to be that the top should be just strong enough to resist deformation by string tension (no stronger) and free to vibrate in both directions. Cedar tops were virtually unknown before M. Ramirez, but they got a reputation for loudness that made them popular with professionals who followed Segovia into the large concert halls. My personal experience tells me the loudness difference is overrated, if not fictional. Of course nowadays, there are a lot of cedar-topped negras and classicals made, but cedar-topped blancas are a relative rarity, at least before the 80's. I thought that Jose Ramirez III claimed to have discovered Western Red Cedar (Thuja Plicata) as a tonewood - in the 60's I seem to remember. Certainly a lot of cedar blancas started to appear in the late 60's. Gerundino started to use it for blancas as well. Segovia's Manuel Ramirez that he played for 25 years (now in the Metropolitan Museum of Art, New York) had a spruce top according to the catalogue of their 1991 exhibition. Do you have some new information to suggest that this was a mistake? Rob
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Date Sep. 30 2007 23:53:08
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