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It is interesting to see the variety of scale lengths with many of the earlier guitars being less than 650. I note that the ‘re-edition’ has a 650 scale. This Jose I model is described as “based on his template and design but enhancing details of construction, adapting it to current preferences relative to comfort and proportions.” Time will tell whether these are regarded as curiosities or find favour with classical and/or flamenco players. While acknowledging the important place of the Ramirez dynasty in the history of guitar making, they were not responsible for every development in guitar making or training every other luthier in Spain. For example there were many makers in Barcelona turning out guitars very much like the Ramirez I guitars.
OK – I give up. Ramirez rules! Digging around, perhaps Fleta is the only one in Barcelona who came to making guitars by a different route. Perhaps the same is true for Ramón Parramón in the days when Jacinto Pinto built their guitars.
I have never been a fan of the Ramirez guitars until I found some good ones (in this case with spruce top). The same I could say for Conde. After that, I changed my mind facing the evidence.
Nonetheless it’s undeniable that the Ramirez House ( being a serious company with a good output) tought the job to many top luthiers. Would have we got Santos or Garcia without Manuel Ramirez? Or Bernabe without Josè III? Who knows...
Fleta at the beginning used to follow the tracks of Garcia. I think GSI had a Torres style guitar made by Fleta and all the early Fleta were spruce topped and quite smallish. Fleta used build mostly bowed strings instruments before seeing Segovia playing and getting fascinated by him. The classical guitar made by Fleta for Segovia is quite an original instrument instead..Probably this originality comes from his background with the bowed instrument.
The classical guitar made by Fleta for Segovia is quite an original instrument instead..Probably this originality comes from his background with the bowed instrument.
I get the impression that Fleta approached the making of a fine modern (for the time) concert guitar in an experimental way. I remember an interview when he was asked about the 9 fan struts in an instrument and he replied that he only used 9 when it was necessary.
Meanwhile here is picture of my "tablao guitar" dated 1960 on a Parramón, Barcelona label, bought from the Parramón shop in 1960, but almost certainly a reworking of an earlier guitar.
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Would have we got Santos or Garcia without Manuel Ramirez? Or Bernabe without Josè III? Who knows...
During various trips to Madrid, making the rounds of the guitar shops, I probably spent less than an hour with Paulino Bernabe. He said little about his experience with Jose III, nor was self-deprecation a feature of his conversational style.
However I did spend a good deal of time with Manuel Contreras Sr.--I liked him a lot. More than once he told me what a strict taskmaster Jose III was, and how he brooked no dispute of his judgment.
Once I said something mildly critical of Jose III's published theories of guitar design. Manuel Sr. observed that it was more art than science, then said of himself, Bernabe and Manzanero, "Where would we all have been without him?"
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