I love you, Jose. YOU WERE AN AMAZING GUITAR MAKER!!! I have tremendous respect for you and always will. But I strongly disagree with your assumption that Hauser could not go thinner with his guitar tops due to his German heritage, or whatever! That's insane. Hauser went thicker with his tops because making them thicker made them SOUND BETTER. On the contrary, Hauser making his tops thicker took more courage than making his tops thinner. Thinner tops produce bigger Bass response but at the same time thinner tops produce weak trebles, especially the first string. This has been my experience. Most classical guitar makers try to find a middle ground, where the Bass is ample and the TREBLES are strong, loud and musical. In my opinion, making thicker tops takes more guts. I cherish these videos of you, Maestro! You were a precious individual and very special. You are missed by all who knew and loved you. YOU made this world a better place. RIP, Maestro.
I was given an old classical guitar made by a Greek luthier from fine solid woods. The owner said it wasn't worth repairing. It was full of cracks and had other issues, and it didn't sound good (dead and tight) because it had very heavy bracing, including a large cross brace that ran directly under the bridge. I repaired the cracks and made other repairs, removed the cross brace, installed a very light bridge plate, and shaved fan braces until I got a nice tap tone. It became a wonderful instrument with a bold and beautiful tone. The top was finally free to respond to the strings. I gave it to an elderly gentleman who was singing corridos in a little cafe in El Paso. He was playing a very poor quality guitar and deserved something better. I love giving old, abused guitars a new life. They make wonderful companions.
That's great to read. I've been thinking about pulling apart a very nice old yamaha guitar and going the extra mile on the top, including the bracing. I wouldn't do it to this guitar if it was undamaged because these old yamahas are very good to start with. (says me) But this guitar is very damaged. I bought it from a guy who had beaten someone over the head with it. The back of the guitar is totally smashed. Hilarious!
Yep. Cusp of disaster is right. That's my way to feel a great guitar too. When it's jumping out of your lap, or the neck is vibrating all through your arm.
With love and respect for Jose and his work, I accept his theory on how he builds his guitars. But it is one of many ways to build, and not the only way to make a beautiful tone. Each guitar will have its process regulated and determined by each master builder, and in no way will it be the same as other builders' completed instruments. The basic outcome will be the personal stamp of all independent builders. And of course this is what makes this a beautiful art form for all hear.
Wonderful video. Very many thanks. I don't understand the comment by the publisher (guitargourmet) that the two opinions are not as far apart as you may think. What do you mean? To me they are as far away as they could possibly be. Opposite approaches. North and South pole. Night and day. To me Romanillos is more convincing.
@enricopg1 I think I understand what he means because I think Somogyi is not trying to tune his top, but to even the response across the surface. Two different things.
Great videos and interesting arguements. My violin making teacher was into tap tuning always going for a difference between front and back. Whilst this was her way of building, she was more concerned that you found a way that suited you and you then stuck to it. Consistency being the method. Then you could change things and respond to the materials used. Another method was to weigh the plates. Whatever works for you. Interesting to see this applies on other instruments. Didnt use this on mine.
I'd be inclined to go with Jose, rooted in the real world. People can convince themselves of all sorts of hocus pocus instead of facing the reality that the uncertainties and variables involved preclude the sort of control they claim to have over them.
Sorry to be so off topic but does anyone know of a tool to get back into an Instagram account..? I was dumb lost my login password. I would appreciate any tricks you can give me.
@Karsyn Kylo Thanks for your reply. I found the site through google and Im in the hacking process atm. I see it takes quite some time so I will get back to you later with my results.
I listen to the Master in his workshop. He certainly has the theory behind the classic guitar. Tap tuning the soundboards is an acquired luthier art. The Spanish guitar is a Helmholz resonator in itself, so paying attention to resonance is very important. The top has to be suspended on a jig that allows it to respond to tapping similar to a drum. The braces inside also need to be trimmed in accordance with the tap tuning.
It’s hard to argue with him about this issue . What ever method he used to tune his tops are in fact a frequency. Whether it’s G or F I doubt it was A . Regardless the boards have to have the quality necessary to respond with volume and sustain to begin with . One way dial it in is to use a frequency analyzer to determine exactly where the note is at . With enough experience you can also use deflection to determine the final voice ( frequency) . He just didn’t want to admit it . Somewhere along the line he didn’t know it either and learned it from some other source.
en conclucion tienes que hacer muchas guitarras usar materiales de la mejor calidad y estacionamiento ,el tacto la concentracion y el esfuezo y mucha practica y estudio crean la sencibilidad y la maestria de lograr una buena guitarra.
Exactly. You have to believe what Romanillos says. He is a successful luthier who is world renowned. And the other one is not. It's not a coincidence that all the successful luthiers (Romanillos, Torres, Hauser, Friederich etc.) didn’t used science to make great guitars.
Just to answer your question, Ervin Somogyi is, for most (me included), the Stradivari of the guitar. He is not just a theoretical in the guitar making subject, even though he had write the definitive book about it (at least in my opinion), but also a really well reputated luthier in his own right, with guitars being sold by top dollar. It's not about comparing one and other (of course Romanillos is also an authority in classical guitar making), but to have access to their brilliant thoughts.
Wat a pity, I understand English quite well, but with this accent I can only understand half of it. And the subtitles confuse me more than being of any help. I'd prefer him speaking Spanish, that at least I could understand better.
I know the old school best of the best guys didn't need it. All feel and ear and when you cut the wood. And what wood you used by the feel and sound and looks.
@@el34glo59 "All feel and ear and when you cut the wood" In other words, being aware of evidence encountered and hypothesising accordingly. That's science pal.
I love you, Jose. YOU WERE AN AMAZING GUITAR MAKER!!! I have tremendous respect for you and always will. But I strongly disagree with your assumption that Hauser could not go thinner with his guitar tops due to his German heritage, or whatever! That's insane. Hauser went thicker with his tops because making them thicker made them SOUND BETTER. On the contrary, Hauser making his tops thicker took more courage than making his tops thinner. Thinner tops produce bigger Bass response but at the same time thinner tops produce weak trebles, especially the first string. This has been my experience. Most classical guitar makers try to find a middle ground, where the Bass is ample and the TREBLES are strong, loud and musical. In my opinion, making thicker tops takes more guts. I cherish these videos of you, Maestro! You were a precious individual and very special. You are missed by all who knew and loved you. YOU made this world a better place. RIP, Maestro.
I was given an old classical guitar made by a Greek luthier from fine solid woods. The owner said it wasn't worth repairing. It was full of cracks and had other issues, and it didn't sound good (dead and tight) because it had very heavy bracing, including a large cross brace that ran directly under the bridge. I repaired the cracks and made other repairs, removed the cross brace, installed a very light bridge plate, and shaved fan braces until I got a nice tap tone. It became a wonderful instrument with a bold and beautiful tone. The top was finally free to respond to the strings. I gave it to an elderly gentleman who was singing corridos in a little cafe in El Paso. He was playing a very poor quality guitar and deserved something better. I love giving old, abused guitars a new life. They make wonderful companions.
That's great to read. I've been thinking about pulling apart a very nice old yamaha guitar and going the extra mile on the top, including the bracing.
I wouldn't do it to this guitar if it was undamaged because these old yamahas are very good to start with. (says me)
But this guitar is very damaged. I bought it from a guy who had beaten someone over the head with it. The back of the guitar is totally smashed.
Hilarious!
For a newer builder like myself. With 5 instruments, teaching from masters of our craft is so valuable .thanks for posting
Yep. Cusp of disaster is right. That's my way to feel a great guitar too. When it's jumping out of your lap, or the neck is vibrating all through your arm.
thank you man for uploading this interview, is mind blowing.
With love and respect for Jose and his work, I accept his theory on how he builds his guitars. But it is one of many ways to build, and not the only way to make a beautiful tone. Each guitar will have its process regulated and determined by each master builder, and in no way will it be the same as other builders' completed instruments. The basic outcome will be the personal stamp of all independent builders. And of course this is what makes this a beautiful art form for all hear.
Wonderful video. Very many thanks. I don't understand the comment by the publisher (guitargourmet) that the two opinions are not as far apart as you may think. What do you mean? To me they are as far away as they could possibly be. Opposite approaches. North and South pole. Night and day. To me Romanillos is more convincing.
@enricopg1 I think I understand what he means because I think Somogyi is not trying to tune his top, but to even the response across the surface. Two different things.
Great videos and interesting arguements. My violin making teacher was into tap tuning always going for a difference between front and back. Whilst this was her way of building, she was more concerned that you found a way that suited you and you then stuck to it. Consistency being the method. Then you could change things and respond to the materials used. Another method was to weigh the plates. Whatever works for you. Interesting to see this applies on other instruments. Didnt use this on mine.
I'd be inclined to go with Jose, rooted in the real world. People can convince themselves of all sorts of hocus pocus instead of facing the reality that the uncertainties and variables involved preclude the sort of control they claim to have over them.
Absolutely amazing! Thank you very much for uploading such wonderful videos :D
Sorry to be so off topic but does anyone know of a tool to get back into an Instagram account..?
I was dumb lost my login password. I would appreciate any tricks you can give me.
@Bradley Yael Instablaster =)
@Karsyn Kylo Thanks for your reply. I found the site through google and Im in the hacking process atm.
I see it takes quite some time so I will get back to you later with my results.
@Karsyn Kylo it did the trick and I finally got access to my account again. I am so happy:D
Thank you so much, you saved my account :D
@Bradley Yael no problem :D
This is the kind of advanced information and theory that cannot come from textbooks. Thanks for putting this up.
as a player I want to understand things from this kind point of view.. What strings does he recommend? and ect.
I listen to the Master in his workshop. He certainly has the theory behind the classic guitar. Tap tuning the soundboards is an acquired luthier art.
The Spanish guitar is a Helmholz resonator in itself, so paying attention to resonance is very important. The top has to be suspended on a jig that allows
it to respond to tapping similar to a drum. The braces inside also need to be
trimmed in accordance with the tap tuning.
It’s hard to argue with him about this issue . What ever method he used to tune his tops are in fact a frequency. Whether it’s G or F I doubt it was A . Regardless the boards have to have the quality necessary to respond with volume and sustain to begin with . One way dial it in is to use a frequency analyzer to determine exactly where the note is at . With enough experience you can also use deflection to determine the final voice ( frequency) . He just didn’t want to admit it . Somewhere along the line he didn’t know it either and learned it from some other source.
I understand the approach, but I'm still experimenting
en conclucion tienes que hacer muchas guitarras usar materiales de la mejor calidad y estacionamiento ,el tacto la concentracion y el esfuezo y mucha practica y estudio crean la sencibilidad y la maestria de lograr una buena guitarra.
Cómo puedo comprar
Page 18
glue = only applied to protein derivatives: 1 animal 2 vegetable.
What is gum arabic?
Economical.
natural starches, cellulose and gums = inexpensive water-soluble adhesives.
Who the heck is Ervin Somogyi ? He is not a well known classical guitar maker.
yeah right! because you've never played or owned Somogyi's guitar doesn't mean he's not well-known.
He's just popular way beyond your scope
Exactly. You have to believe what Romanillos says. He is a successful luthier who is
world renowned. And the other one is not. It's not a coincidence that all the successful
luthiers (Romanillos, Torres, Hauser, Friederich etc.) didn’t used science to
make great guitars.
Just to answer your question, Ervin Somogyi is, for most (me included), the Stradivari of the guitar. He is not just a theoretical in the guitar making subject, even though he had write the definitive book about it (at least in my opinion), but also a really well reputated luthier in his own right, with guitars being sold by top dollar. It's not about comparing one and other (of course Romanillos is also an authority in classical guitar making), but to have access to their brilliant thoughts.
@@rifosi "for most (me included), the Stradivari of the guitar."
lols, you must have a strange definition of "most".
@@rjlchristie , ok. For me, then.
hola se pudiera escuchar en español
why he speaks with scottish accent?
🫣🫣🫣🫣
bit silly comparing with Ervin Somogyi who makes steel string guitars. At least ask another classical guitar maker
Wat a pity, I understand English quite well, but with this accent I can only understand half of it. And the subtitles confuse me more than being of any help. I'd prefer him speaking Spanish, that at least I could understand better.
Et en français ?
La langue de l'amour 🤣
Science has no place in building quality guitars.
rubbish
I know the old school best of the best guys didn't need it. All feel and ear and when you cut the wood. And what wood you used by the feel and sound and looks.
@@el34glo59 "All feel and ear and when you cut the wood"
In other words, being aware of evidence encountered and hypothesising accordingly.
That's science pal.