Paul Fischer

Open day at the London College of Furniture 1986.

(from left to right, Lily Mairants, Terry Pamplin, Marian Romanillos, John Mills, Jose Romanillos, Ivor Mairants, Paul Fischer and Herbert Schwarz)

I have recently heard that Paul Fischer has retired from guitar making after a long and successful career as an internationally acclaimed guitar maker. It seems strange to think that Paul, who has been such a force in UK guitar making will no longer be at the workbench, but I hope he may be able to contribute some of his expertise and enthusiasm in other ways.

I first met Paul in the mid 80's when I was an aspiring guitar making student at the London College of Furniture. Paul made several visits to the college and students found it very encouraging to have his support and encouragement. I remember attending a presentation of his research into alternative south American timbers. Paul had made 8 guitars, one with Brazilian rosewood for the back and ribs; the other 7 using timber that Paul had identified as being suitable alternatives. John Mills played on each guitar (from behind a screen) and a panel was asked to pass judgement on the tonal merits of each one. The exercise was a thought provoking one and Paul's careful research and enthusiasm was inspiring.

Paul started making guitars in what now seems like a different age. If you wanted a good guitar, you would have to go to Spain, or at least, go to one of the few dealers who imported Spanish guitars. Paul can be seen as one of the pioneers of modern English guitar making and did much to promote the craft.
Much to my surprise, I find that I have never played one of Paul's guitars, except  for a rather fine David Rubio guitar, stamped 'PF' but I'm sure I will rectify that one day. In the meantime I wish Paul a long and happy retirement.

Antonio de Torres FE 18

This is a guitar I see quite regularly and it was in the workshop a few weeks ago for fellow guitar maker Pete Beer to inspect. Torres is of course a special name for all classical guitar makers as his contribution to the development of the instrument was enormous. Torres worked in two periods or epochs and this guitar is from the first epoch and is dated 1864. It is catalogued by Jose Romanillos as FE 18. The body is small by modern standards and is a similar size to a Panormo. It has a 640mm scale length, or thereabouts; it is possible that Torres used imperial measurements, and exhibits many of the features for which Torres is famed.


The rosette is a pleasing example of the decorative work found on some Torres guitars. Torres has made extensive use of dyed green veneer and the fine herring-bone design is one that has been much copied. I have spent many hours making this detail and know how long it takes, and the precision required to do it well.


FE 18 is delightful to play and playing any old and historically important instrument is a moving experience which brings you closer to the history of the guitar. Although the guitar has developed greatly since Torres there is still much to learn from the old makers. It must be remembered that the best guitars are being made now, by living makers and it should surprise no one that this is the case. Makers today have the work of those in the past to draw on, as well as many technologies that were not available to makers in the past.
This guitar can be heard at the Wigmore Hall (London) on the 25th March 2012 as part of a concert given by Edoardo Catemario. A Torres in this beautiful concert venue is a treat indeed.