JOSÉ ROMANILLOS 04 | How to make the BETTER GUITAR TOP
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Loading ...Posted on: October 11, 2009
Posted in: Acoustic Luthier, Custom Acoustic Guitar, Custom Guitar Making, Custom Guitar Video, Featured, Video
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The backs of Classical guitars are sometimes made out of more than two pieces of book-matched wood. The reason might be out of cosmetic nature, it also might be out of short supply to find big enough pieces of Brazilian Rosewood. But nobody would ever expect the top of a world-class Classical Acoustic Guitar to be made out of three, four or even five pieces. Custom Guitar Video was totally amazed when José Romanillos proposed this as a legitimate way to build a master instrument.
Why has the Spanish guitar, the way Antonio de Torres designed it, survived more than one hundred and fifty years? Guitar Makers like Kasha and Smallman tried to prove that the Classical Guitar as we know it from our Youth is a relic of the past. It still seems to to be a viable instrument and there are thousands of guitar lovers who want to hear exactly that Spanish tone. As José Romanillos says: “The proof is in the pudding!” It is not the makers who decide, it is the concert halls of the world which will tell the truth. It is the moment when the artist is on his own with his beloved instrument and starts to tell his story. Will the guitar give him the tools to not only communicate the plot but also open up the world of emotions. It is the voice of an instrument which will finally make people cry – not the theory.
This is the topic of the fourth José Romanillos Custom Guitar Video installment.
Enjoy!
José Romanillos became famous by building the guitars for Classical Guitar Virtuoso Julian Bream. He his one of the last icons in Spanish guitar making tradition. His guitars are among the most sought after classical guitars. José wrote numerous books about the Spanish guitar and the man who defined the classical guitar as we know it today, Antonio de Torres. We spent a whole week in Següenza, Spain close to Madrid to document his last guitar. In the first part José talks about how to select wood and the validity of old methods. This is right from the workbench. Spanish “Guitar Making” at its best.
