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The Guitars of Notable Classical Guitarists   You are logged in as Guest
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flamenco_9

Posts: 214
Joined: Jan. 15 2004
 

The Guitars of Notable Classical Gui... 

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
  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 23 2007 10:36:44
 
guitarbuddha

 

Posts: 2670
Joined: Jan. 4 2007
 

RE: The Guitars of Notable Classical... (in reply to flamenco_9

Cheers
  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 23 2007 17:08:02
 
koella

Posts: 2181
Joined: Sep. 10 2005
From: holland

RE: The Guitars of Notable Classical... (in reply to flamenco_9

Ok, now lets find out what boots they were all wearing.
  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 23 2007 21:05:05
 
Doitsujin

Posts: 5005
Joined: Apr. 10 2005
 

RE: The Guitars of Notable Classical... (in reply to flamenco_9

Ah.. yes. I just looked around in the net for this list. Now I have it. THANK YOU!!
  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 23 2007 22:14:39
 
Patrick

Posts: 1189
Joined: Jul. 7 2003
From: Portland, Oregon

RE: The Guitars of Notable Classical... (in reply to flamenco_9

Our Forum members John Shelton and Aaron Green are on the list!
  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 24 2007 4:01:04
Guest

RE: The Guitars of Notable Classical... (in reply to flamenco_9

who cares...classical guitars are for homo's (hahahah, im kidding im kidding)
  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 24 2007 5:15:35
 
Ricardo

Posts: 8423
Joined: Dec. 14 2004
From: Washington DC

RE: The Guitars of Notable Classical... (in reply to flamenco_9

Nice list for classical guitarists. Meanwhile, the flamenco guitarist list is:

All players except Vicente Amigo use...Conde Hermanos.


Next list...strings!!!
  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 24 2007 6:13:10
 
RobJe

 

Posts: 287
Joined: Dec. 16 2006
From: UK

RE: The Guitars of Notable Classical... (in reply to Ricardo

Perhaps Vicente learned to be different from his mentor Manolo Sanlucar (who plays a Ramirez).
If all the Conde guitars played by professional players were stretched end to end they would be longer than the first post in this thread and perhaps even reach the moon. So why are there so many?
You could ask the same about Fleta, Ramirez and Humphrey for classical I suppose.
By the way, there is one former professional flamenco player who features significantly in the list of classical luthiers - David Rubio (formerly 'Jose Rubio' when he played in Spain and originally 'David Spink' when he was a medical student in London.
Rob
  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 24 2007 16:35:09
 
Ricardo

Posts: 8423
Joined: Dec. 14 2004
From: Washington DC

RE: The Guitars of Notable Classical... (in reply to RobJe

quote:

Perhaps Vicente learned to be different from his mentor Manolo Sanlucar (who plays a Ramirez).


It was a joke man. But seriously, so many folks use or have used Ramirez too. And in Rito y Geographia, everyone had a Conde, even Manolo Sanlucar was accompanying cante with a Conde Negra (Morente) and a Conde blanca (Lebrijano). So he gets put on the Conde list too.

Oh, I guess you can take Paco Peña off the list too.
  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 24 2007 16:56:17
 
Shroomy726

Posts: 1149
Joined: Jun. 5 2005
From: Argentina (living in U.S.)

RE: The Guitars of Notable Classical... (in reply to flamenco_9

Now who is in both lists?

Grisha comes to mind....

Anyone know what flamenco guitars he uses?
  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 24 2007 19:32:30
 
Ron.M

Posts: 7059
Joined: Jul. 7 2003
From: Scotland

RE: The Guitars of Notable Classical... (in reply to Shroomy726

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
  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 24 2007 22:15:37
 
wiseguy493

 

Posts: 73
Joined: May 9 2007
 

RE: The Guitars of Notable Classical... (in reply to flamenco_9

Wise words Ron.

I've played the guitars of many great players and been astounded by how horrible they were by my own preferences, but when they play them they make them sound great.

A lot of a guitar being great rather than just good is that you play the guitar enough to adapt to the character of it and develop a familiarity with that guitar. The biggest influence on tone is in the way you strike the strings, not the guitar. And each guitar responds differently depending on how the luthier decided it would sound good. 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, but I've seen some amazing flat tops that sound great and I couldn't make a flat top that sounded that good. Some luthiers prefer a different type of bracing system. I like the 5 way fan brace and think that when it is done right it can make an amazing guitar.

When you buy a guitar... seriously consider the contour of the top and the positions of the braces and realize that this affects your guitar's tone more than any other factor other than your attack. There are plenty of great flamenco AND classical guitars out there with bracing patterns I would consider ineffective for the way I like to play.

So I think my point in all this rant is that the construction of a guitar defines the quality of the guitar, and there are some classical guitars out there that blow away most flamenco guitars, and there are some flamenco guitars out there that blow away most classical guitars too
  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 26 2007 0:50:44
 
guitarbuddha

 

Posts: 2670
Joined: Jan. 4 2007
 

RE: The Guitars of Notable Classical... (in reply to wiseguy493

This reminds me about a story that John Duarte related to me about Segovia. After a dinner party Segovia treated those assembled to an impromptu concert and everyone was awestruck by the amazing range of colour and dynamics that he achieved. Rationalising that he was playing perhaps the most exclusive of guitars in the world at that point John (the host) realised that Segovia had brought no guitar with him and that he had in fact been playing a student guitar that had been lying around.

This story is not meant to contradict any of the above and I have as many problems with Segovia as any sane man. But if someone is in the habit of looking for tonal and dynamic variety all the time when they play they'll find a lot of what a guitar (though I admit not all) has to offer on the hoof. On the flip side, if someone has a narrow idea of what a perfect technique is (cause they read it in a book or because they thought they understood their teacher or because they can achieve agreement with 'officianados' when discussing such things ) then they may own a great guitar for years and never scratch the surface of what it is capable of.

(WARNING - GB makes a trademark rhetorical diversion at this point )

I was cycling with heavy packs six days out of seven for a month on a so-so bicycle and afterwards I felt real strong. Now I could take this strength to a top of the range cycle and feel like a million dollars.

So I am skint and I play a cr@p guitar but I am training hard and I think that learning to look real hard for sound is something that will stand me in good stead.

PS I wouldn't expect to win any races carying heavy packs.....it's all subjective.
  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 26 2007 2:24:18
 
Ricardo

Posts: 8423
Joined: Dec. 14 2004
From: Washington DC

RE: The Guitars of Notable Classical... (in reply to wiseguy493

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
  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 26 2007 18:53:57
 
RobJe

 

Posts: 287
Joined: Dec. 16 2006
From: UK

RE: The Guitars of Notable Classical... (in reply to wiseguy493

quote:

When you buy a guitar... seriously consider the contour of the top and the positions of the braces and realize that this affects your guitar's tone more than any other factor other than your attack.


I didn’t really understand the bit about bracing. I am just really grateful to get my hands on a really good guitar. Sadly, the maker’s name and/or particular bracing pattern seems to be no guarantee of this. My 3 best guitars have 5 fan struts (60’s Ramirez), 7 (modern Conde A26) and 9 (early 90’s M Bellido). Looking at the guitars on the list that started this post these notable guitarists seem to have similar experiences. Fleta with 9 fan struts seems to rub shoulders with a lot other bracing patterns.
Rob
  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 26 2007 20:33:24
 
Ron.M

Posts: 7059
Joined: Jul. 7 2003
From: Scotland

RE: The Guitars of Notable Classical... (in reply to Ricardo

quote:

What is an example of a "flat topped" classical guitar? I thought they ALL are flat top, and the opposite being an archtop guitar???

Ricardo,
Maybe what wiseguy was meaning was a top that was an even thickness all the way through.
I know absolutely nothing about guitar construction, but from reading a few of the posts in the Luthiery forum a while back, it seems that Luthiers will shape or belly the top from underneath so that the thickness in the middle is not the same as the thickness of the edges.
Apologies if I picked this up incorrectly.

I'd agree with you on the guitar size/woods.
Big guitars (depth) definitely have more bass.
Spruce seems brighter and Cedar more mellow in my experience too.
(Although I had a Ramirez Cedar top that was incredibly bright and trebley
....it was also very, very light in weight...so maybe this is a factor also?)

cheers,

Ron

_____________________________

A good guitar might be a good guitar
But it takes a woman to break your heart
  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 26 2007 22:15:18
 
jshelton5040

Posts: 1074
Joined: Jan. 18 2005
 

RE: The Guitars of Notable Classical... (in reply to Ron.M

quote:

ORIGINAL: Ron.M

quote:


it seems that Luthiers will shape or belly the top from underneath so that the thickness in the middle is not the same as the thickness of the edges.
Apologies if I picked this up incorrectly.


The arch is normally created by pressing the top into a solera (a hollowed out form in the shape of the guitar) and gluing the braces on like springs (forcing them to the bowl shape of the solera). The top is frequently thinned on the edges but it's on the top not the inside.

quote:


Big guitars (depth) definitely have more bass.
Spruce seems brighter and Cedar more mellow in my experience too.
(Although I had a Ramirez Cedar top that was incredibly bright and trebley
....it was also very, very light in weight...so maybe this is a factor also?)

cheers,

Ron


Deep guitars theoretically should have more bass assuming the top is made correctly.
The most brilliant guitar I own is a cedar top blanca. I would say a good spruce top tends to be more percussive than a cedar with perhaps better projection but even this is open to conjecture.
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".

_____________________________

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  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 27 2007 0:15:28
 
andresito

Posts: 378
Joined: Feb. 20 2007
From: New Holland

RE: The Guitars of Notable Classical... (in reply to Ron.M

quote:

ORIGINAL: Ron.M
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.

Sorry but I have to say that's a bad analogy
Going from a go-kart to an F1 you could get into a lot of trouble if you don't respect the power of an F1...
but then if you've got F1 skills already a go-kart will seem like a toy anyway

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  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 28 2007 14:58:33
 
wiseguy493

 

Posts: 73
Joined: May 9 2007
 

RE: The Guitars of Notable Classical... (in reply to flamenco_9

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.
  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 28 2007 20:00:13
 
a_arnold

 

Posts: 554
Joined: Jul. 30 2006
 

RE: The Guitars of Notable Classical... (in reply to Ricardo

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.
  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 28 2007 23:26:00
 
Ron.M

Posts: 7059
Joined: Jul. 7 2003
From: Scotland

RE: The Guitars of Notable Classical... (in reply to a_arnold

As just a "subjective" thing here....
I've always wondered about how guitars have a certain "tension" to their sound.
Great guitars (both Classical and Flamenco) always have this "tension" about them...

The slighty arched top, supported by braces would seem to explain this....
That the guitar is not simply a shaped box of wood in equilibrium, but a device sitting on the edge of chaos, who's patterns of resonance would be changed significantly by the player.

Hmmm...Lot's to think about here...

Great Post!

cheers,

Ron

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A good guitar might be a good guitar
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  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 29 2007 0:09:15
 
jshelton5040

Posts: 1074
Joined: Jan. 18 2005
 

RE: The Guitars of Notable Classical... (in reply to a_arnold

quote:

ORIGINAL: a_arnold


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.

I have heard this before that Ramirez classic guitars in the style used by Segovia had flat tops but every one I've looked at had an arched top usually around 2-3 mm from side to side at the bridge. I'm speaking of Ramirez classics and flamencos from the 60's and 70's. Perhaps the top was drawn into an arch by the bridge like on Lester DeVoe's guitars. I've only seen one Dieter Hopf, it was built with a tail piece and the top was remarkably thin cedar. His craftsmanship is impeccable; however I thought the voice although loud was colorless and cold.

_____________________________

John Shelton - www.shelton-farretta.org
  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 29 2007 1:55:24
 
Estevan

Posts: 1709
Joined: Dec. 20 2006
From: Torontolucía

RE: The Guitars of Notable Classical... (in reply to Ron.M

quote:

the guitar is not simply a shaped box of wood in equilibrium, but a device sitting on the edge of chaos...


Brilliant, Ron - that's going in my collection of quotes!

thanks
Estevan

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Me da igual. La música es música.
  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 29 2007 15:55:12
 
Ron.M

Posts: 7059
Joined: Jul. 7 2003
From: Scotland

RE: The Guitars of Notable Classical... (in reply to Estevan

quote:

Brilliant, Ron - that's going in my collection of quotes!


Thanks Estevan!

I don't really know what it means myself..
I just woke up one night and wrote it down...

cheers,

Ron

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A good guitar might be a good guitar
But it takes a woman to break your heart
  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 29 2007 17:14:00
 
nhills

Posts: 207
Joined: Jul. 13 2003
From: West Des Moines, IA USA

RE: The Guitars of Notable Classical... (in reply to Ron.M

quote:

the guitar is not simply a shaped box of wood in equilibrium, but a device sitting on the edge of chaos


Excellent quote - whether you know what it means or not!
Norman

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  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 29 2007 17:49:24
 
Ricardo

Posts: 8423
Joined: Dec. 14 2004
From: Washington DC

RE: The Guitars of Notable Classical... (in reply to a_arnold

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.
  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 30 2007 1:08:26
 
guitarbuddha

 

Posts: 2670
Joined: Jan. 4 2007
 

RE: The Guitars of Notable Classical... (in reply to Ron.M

Yup it is a device on the edge if chaos, a black hole that sucks in all your spare time and the closer you get the smaller the possibility of escape.

It is whispered amongst the old ones though that if you get close enough to it and survive you can be transported to another universe or another time.

Well Ron a well chosen metaphor has a life of its own !

D.
  REPORT THIS POST AS INAPPROPRIATE |  Date Sep. 30 2007 1:14:51
 
RobJe

 

Posts: 287
Joined: Dec. 16 2006
From: UK

RE: The Guitars of Notable Classical... (in reply to a_arnold

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
  REPORT THIS POST AS INAPPROPRIATE |  Date Oct. 1 2007 0:53:08
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