Historical V/S Contemporary

Construction and repair of Classical Guitar and related instruments
peggysue

Historical V/S Contemporary

Post by peggysue » Sun Feb 04, 2007 5:28 am

Hello,

If any of you were able to gather all the Luthiers of traditionally braced Classical Guitars from Torres thru today, whom would you pick to build a CG for you?

I ask this question in order to see how past luthiers stand up to the current ones.

Take care,
John

GEO

Post by GEO » Sun Feb 04, 2007 10:43 am

Hauser I (first), Romanillos (second). Hmm...looks like I'm pretty traditional.

Cheers,

geo

Ramirez 1a Rio

Post by Ramirez 1a Rio » Sun Feb 04, 2007 12:39 pm

This question was asked before!


Torres, Hauser, Romanillos, Manuel Ramirez, Raya Pardo ...

(I'd never ask Smallmann. Just don't like the sound)
Last edited by Ramirez 1a Rio on Sun Feb 04, 2007 5:29 pm, edited 2 times in total.

Sasquatch51

Post by Sasquatch51 » Sun Feb 04, 2007 2:47 pm

Ramirez 1a Rio wrote: (I'd never ask Smallmann. Just don't like the sound)
I felt the same way...I always though they were sort of thin and nasal...until last night. I went to see XueFei Yang in concert. That Smallman she played sounded INCREDIBLE. It was loud...BIG voice...but well-balanced. The trebles were incredibly clear and bright, but not thin..they just sparkled. The basses were strong and focused, but not overpowering or muddy. It was, without doubt, the best sounding Smallman I've heard.

But...that doesn't make me a Smallman convert.....that's only one that I've heard that I really like the sound.

I think I would ask Robert Ruck, Hauser Sr., or Romanillos.

Ramirez 1a Rio

Post by Ramirez 1a Rio » Sun Feb 04, 2007 5:33 pm

They are! (Thin and nasal)

I once heard one being played a whole concert 5 meters away and it was truly a disapointing experience.

But the Topic is best not worst for the money! ;-)

Carnbo

Post by Carnbo » Sun Feb 04, 2007 8:22 pm

David Rubio or Edward Bryn Jones

Pepe Vergara

Post by Pepe Vergara » Sun Feb 04, 2007 10:01 pm

Robert Bouchet
Antonio de Torres Jurado
Marcelo Barbero
Jose Ramirez IV
German Vasquez Rubio
Pepe Romero Jr.
David Schramm
in that order

User avatar
James Lister
Luthier
Posts: 7318
Joined: Fri Nov 17, 2006 3:53 pm
Location: Sheffield, UK

Post by James Lister » Mon Feb 05, 2007 11:11 am

pepe wrote:Robert Bouchet
Antonio de Torres Jurado
Marcelo Barbero
Jose Ramirez IV
German Vasquez Rubio
Pepe Romero Jr.
David Schramm
in that order
Bouchet first eh? I haven't played a real one, but the copies I've tried (including one of my own) were disappointing. Is there something about Bouchet's guitars that defies copying?

James
James Lister, luthier, Sheffield UK

nedim

Post by nedim » Mon Feb 05, 2007 1:39 pm

For me, Santos Hernandez would be the first choice. Among contemporary luthiers I would say Robert Ruck for classical and Manuel Reyes for flamenco.

Ramirez 1a Rio

Post by Ramirez 1a Rio » Thu Feb 08, 2007 5:59 pm

What heavenly guitars would Don Antonio de Torres have made if he would have had the top quality wood we have today! :roll:

Pepe Vergara

Post by Pepe Vergara » Thu Feb 08, 2007 7:03 pm

jmdlister wrote: .. Bouchet first eh? I haven't played a real one, but the copies I've tried (including one of my own) were disappointing. Is there something about Bouchet's guitars that defies copying? James
I just played one once for few minutes. That was the most wonderful experience I have had with guitars. I have tried at least twice to make a copy with limited results. I have now acquired his notebook with his own notes to try to discover what is that missing link. I am sure I am going to get it one day. If you study Torres, then you are studying Bob. I think it has to do proabley with the plantilla. It is difficult to believe the existing plans without actually copying it from the real guitar. I have one in process that will be ready in couple of months. I will inform the forum on the results.

GEO

Post by GEO » Fri Feb 09, 2007 1:01 am

pepe wrote:I have now acquired his notebook with his own notes to try to discover what is that missing link
I believe Torres was a secretive man (he had no disciples). Getting his secret from that notebook may, therefore, be a long shot, Pepe. But who knows--you could be famous by Friday!!

Cheers,

geo

Pepe Vergara

Post by Pepe Vergara » Fri Feb 09, 2007 5:45 am

GEO wrote: ....I believe Torres was a secretive man (he had no disciples). Getting his secret from that notebook may, therefore, be a long shot, Pepe. But who knows--you could be famous by Friday!!

Cheers,

geo
I am a bit confused. The notebook I purchased (from the Museum of Paris) is a photostatic copy of Bouchet's personal guitarmaking notes, which he developed through his learning and working on guitars. He did have the opportunity to repair couple of Torres guitars and learn from them. In fact, the famous Bouchet bracing is actually Torres'. He did change the plantilla to make it more aesthetically attractive (after all, he was a fine art painter -- like I am/was too). Indeed, Torres did not have pupils or left any notes, but he left his work, which has allowed other luthiers to learn from him. The book by Romanillos gives a clear picture of Torres, however, to learn his work, you have to actually see it. Bouchet did that. BTW, I have learned some little secrets that Bouched had. So, it is paying off. Let me know if I missinterpreted your post, because I think you did mine.

GEO

Post by GEO » Fri Feb 09, 2007 11:16 am

pepe wrote:Let me know if I missinterpreted your post, because I think you did mine.
You're right, Pepe. I misread your post as having said that you had TORRES' notebook, not Bouchet's. :oops:

That would've been a find, however! :smile:

Cheers,

geo

User avatar
Anthony Campanella
Posts: 2419
Joined: Wed Dec 13, 2006 12:29 pm

Post by Anthony Campanella » Fri Feb 09, 2007 2:25 pm

Extremely few people have ever played the guitars by every great master.
It's possible (likely?) that some of these extant guitars don't resemble the makers best works

Did Bouchet develope the relieved transverse brace that allows some of the fan braces to extend to the sound hole or beyond? Or did he pick that idea up somewhere?

Return to “Luthiers”