Birds-eye-maple guitar

I have recently sent this guitar to Guitar Salon International in Santa Monica and I thought I should post some pictures of it as it is a striking guitar. GSI are one of the leading classical guitar dealers and have rightly established a fine reputation for their knowledge and professionalism. I have been dealing with GSI for many years now (I think since 1998) and it is always a pleasure to work with them. Tim Miklaucic established GSI in the mid 80's and has always had a sumptuous stock of magnificent guitars, both new and vintage. I think it is very telling that GSI's style and ethos has been emulated by others, and their website has set the standard for others to follow. All guitar enthusiasts should take a look at their site which has a huge amount of fabulous pictures, information and recordings.



This particular guitar is my traditional model, and whilst it is not a slavish copy of any particular instrument, it does draw on a couple of Torres guitars that I have worked on (I must write something about those), the 1941 Hauser which I have written about, and the guitars of Simplicio. GSI have been so kind as to describe this guitar as 'an exceptional guitar by all standards' which I am very flattered by.

Herman Hauser

Hauser has a special place for me as the first great guitar I held, played and examined was a guitar that Hauser made in 1935. Once, as a young student in London, I was chatting to Colin Cooper, then the editor of Classical Guitar magazine. He mentioned that Victoria Kingsley had a Hauser, and a Bouchet. I duly wrote to her, asking if I could see the guitars, to which she kindly agreed. I visited her in Hampstead one dark winters evening and she very trustingly left me alone with her instruments for as long as I wished. She also provided me with a cup of delicious Earl Grey tea, served in a delicate china cup. Sadly the light was bad, and my photographic equipment primitive. The picture above is the only one I have. I took notes and measurement, expecting a great secret to be revealed: I am still waiting for that revelation.
Below is a picture of a page of the notebook into which I made notes and measurements, and the note from Victoria Kingsley. They are resting on the template I made of this guitar, and that I still have and use in the workshop.
I regret that the guitar was strung with the oldest strings imaginable, but what I regret more is not talking more to Miss Kingsley who had led the most remarkable life, which was eventually to run to 100 years. I will always be grateful to her for her generosity and trust in allowing me to learn from this beautiful guitar.



Hauser is one of those names that in guitar making circles has gained almost mythical status. Undoubtedly one of the most copied makers of the 20th century, his guitars have been used by hugely influential players, of which Andres Segovia and Julian Bream are the most notable. The prices that his guitars fetch are massive, and many are bought by collectors rather than players.



I have recently been going through my archive of papers and photographs and taking the opportunity of throwing quite a lot of material out. The pictures in particular have provoked quite a few trains of thought; none more so than these pictures of a Herman Hauser guitar that I worked on 4 or 5 years ago. Built in 1941, this guitar is pretty representative of Hauser's output and includes his characteristic rosette, headstock and inlay. Whilst it was in the workshop I took the opportunity to take detailed measurements and from these produced a full size working drawing. There were no surprises with this guitar, and anyone who is familiar with drawings of Hauser guitars by Richard Brune and Jeff Elliot will immediately recognise the details on my drawing.

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The 1941 guitar was a pleasure to have in the workshop. The back and ribs were Indian rosewood, a timber that I have seen on a number of Hauser's instruments. The neck was mahogany with a tight, precise V-join. The top was of good quality but had a number of previously repaired cracks. It was thicknessed to 2.5 mm, thinning to 2.2 around the periphery. It should be noted that the instrument had been refinished, although I felt that the top had not been substantially altered. And how did it sound? Well-balanced, refined, not loud (nor quiet), a deep bass register that had not become flabby...to be honest I suspect it was past its best, but it is still a fine guitar. A hugely important piece of classical guitar history but no longer a concert guitar in my opinion.


2 years ago I was walking through Central Park in New York, wondering whether I had time to fit in a visit to the Metropolitan Museum of Art that was close by. They hold a fabulous collection of guitars, including Segovia's '37 Hauser, which he described as 'the greatest guitar of our epoch'.

The more I thought about it, the more cross I became with that statement and began to see it as rather destructive. I suspect Segovia was saying more about his own involvement with this guitar than anything else but it set the seeds of a grand distortion.


I, like many others, have been brought under the indefinable spell of Hauser, and have certainly played and heard some beautiful guitars that he made. He understood the materials he was working with, and he understood the nature of the instrument he was making. However, Hauser's qualities remain elusive and one wonders sometimes how his, or any maker's status for that matter, should really be evaluated.

Guitar assembly

Here are are a few pictures of Johns guitar coming together. With all the parts completed, the transformation from kit to guitar is very rapid, but it is a process that takes the uttermost care. It is at this point that precise final fitting takes place, and checks are made to ensure that the geometry and tensioning is as required. This is my more traditional instrument and the strutted soundboard would be familiar to Torres and Hauser. Behind the ribs in this picture are the tentellones ( the small blocks that hold the ribs onto the soundboard), the endblock and the neck wedges. On this guitar all these internal details have been made from salvaged mahogany. Old Victorian drawer fronts have been the donor in this case; when I cut into them there was a wonderful and indescribable smell of dry, aged wood, quite unlike sawing fresh timber.
On this model of guitar I use the Spanish method of building, with the integral neck. The ribs are held into the neck by wooden wedges which, when correctly fitted, push the sides firmly against the heel. I polish the inside of the block, for no other reason that it looks fine and finished.
Finally, all the parts are assembled, the last job is to individually glue in the tentellones with hide glue. This is the the last opportunity to study the inside of the guitar as soon the back will be fitted and glued, and the instrument will be a step nearer completion. Many makers have lamented the fact that all this detailed and precise work is lost from view!

1916 Manuel Ramirez/Santos Hernandez

This guitar came into the workshop a few weeks back and really fired me up. It is a Manuel Ramirez, built in 1916. The Ramirez workshop produced many instruments, some built by Manuel Ramirez himself; the others built wholly or partly by craftsmen employed by Ramirez. Some of the notable Ramirez craftsmen were Modesto Borregero, Domingo Esteso, and Santos Hernandez. It is this last name that creates real excitement as Santos went on to become one of the greatest guitar builders of the first half of the 20th century, and his instruments are still revered by makers and players alike. Manuel Ramirez died at the age of 52 in 1916 and the label shows that this guitar was completed after his death. If you study the picture above, you will notice that the initials S.H. are stamped on the label, showing that this was a guitar from the bench of Santos Hernandez.
The picture above shows the signature of Santos Hernandez on the underside of the soundboard.
Shot through the soundhole, this picture shows some internal workmanship.
This picture of the inside of the guitar shows some rather heavy handed repair work. Glue soaked material has been used to support some of the splits in the soundboard.
Andres Segovias first great guitar was a Manuel Ramirez guitar from 1912, that was built by Santos Hernandez. It was a source of great frustration to Santos that Segovia refused to acknowledge that this fine guitar was built by him.
The back and ribs of this guitar are made of Spanish cypress, a wood almost exclusively used for flamenco guitars, although I for one would be very happy to use it for classical guitars. This guitar is definitely a flamenco and has what Stefano Grondona has described as an 'explosive vitality'.
Although showing signs of age and considerable professional use, this guitar is in good, and largely original condition. When you look closely at the workmanship you can see that it is fine indeed. The simple but effective rosette illustrates the crisp and accurate work.

I was delighted to see this headstock as by chance I had used this design for the first time a few weeks before. I was copying a Hauser 1 headstock for a guitar I am building. Herman Hauser saw Segovia's Ramirez/Hernandez and occasionally adopted this design, although he is usually associated with the 3 lobed design of Torres.
The hole in the center of the headstock is for a cord or ribbon that can be used to hang the guitar on the wall.
This repair label shows that the guitar was repaired in the Jose Ramirez workshop in 1929. The picture below shows the label on the original case.