Casimiro Lozano 1A Concert Guitar 1996 Brasilian Rosewood.

 

Presented here is a1A model by the Cuenca based luthier

Casimiro Lozano (1954). His work is highly regarded 

and his double top guitars from more recent times have

a waiting list of one year. This one is from 1996 equipped

with a spruce top and Rio rosewood sides and back.

Most likely made with the models of Ignacio Fleta in 

mind as we may conclude from the bracing this guitar 

is provided with. Scale length is 650 mm. Width at the 

nut: 53 mm. Brasilian rosewood bridge mounted. SOLD.

Luckily this guitar has been well used in the past and

the soundboard bears some marks due to that. The small

scars behind the bridge will be treated in the near future.

This picture gives the most honest view on the damages 

behind the bridge. As I recently got the comments from

a potential buyer about another guitar, I decided to leave

it as it is. Otherwise a buyer might think I'm hiding serious

damages. These imperfections often can be seen on 

classical guitars. I'm always advising to make a knot in

the highest strings on this spot. The rather slippery

higher 3 strings might pop loose.

Another picture in which you can see the strings are

making a good angle over the bridgebone but moreover

that the soundboard is still straight!

Most of the time this angle is more critical on the 

highest strings over the bridgebone. The strings could

even be lowered but that is not advisable as the

action on the 12th fret is 3 mm for the highest string

and 3,5 mm for the lowest string.

This is of course where this guitar shines as the Brazilian

rosewood in all its' beauty can be admired here. Wonderful!

The spruce soundboard can be seen and studied here

by clicking on it as well as the rosette of course.

In this guitar this label has been found and the use of

Brasilian rosewood on this one is an absolute plus.

Stunning if you are a real wood lover.

The veneer layer on the head has also been executed out

of Brasilian rosewood and the Schaller tuners are still

working nicely. A remark can be made about the topnut

as the luthier was aware of the spacing for the highest

string towards the edge of the neck: Just a bit more

room what facilitates the playing of pull offs.

I'm always adding these kind of pictures as you can 

see there is hardly any fretwear. And the fingerboard 

is real black as it should be when ebony is involved.

A close shot of the Schaller tuners. A small reparation 

was needed as the knob for the B string had too much 

play. These tuners can still be ordered under the type

announcement: Lyra GD Acrylic. Not cheap, but these

are working perfectly now.

Most likely the back has been retreated recently as it

is in a like new condition and that for an almost 30

years old one? Hmmm....

The glance makes it difficult to make a proper picture.

You need to play with extra lights on it to have a result

with hardly any reflection. Alberto Martinez of the Orfeo

magazine is a master in this field. But to be honest, he

was the photographer for BMW cars and that explains 

a lot. Nicely executed extra bindings here.

The back of the head that is free from any damage

sometimes due to placing an instrument against a wall!