Juan Montes Rodriguez Model 146 (?) from 2024

  

Until recently I haven't heard of this luthier from Spain. It is not

an old brand with its' roots more than 100 years ago but we all have

learned from others along the way so let's take a closer look and

have a close listen to this guitar coming from a luthier near

Valencia.

It starts with a lot of ornamentations, in fact for me not necessary

and as for the model of the head this wouldn't be my first choice

either. But bilt qualities are really OK and a Spanish guitar with

supreme tuners are most of the time not that readily available.

 

Abetter racing for the topnut was one of my wishes here but that 

can be done quiet easily. Very smooth working tuners though.

You can always swap the knobs if you alike pearloid better

Strange enough the exact model has been mentioned, just "Nino"

what would grow the expectations it to be an entry level guitar.

It is ment as a Flamenco model and the label has been signed 

and dated by the maker. We'll try to get in touch with them.

What I particularly like is the rather low bridge as then also the 

weight won't have a negative influence on the final sound. You can

also detect the use of a twelve hole bridge. All finally executed.

Therefore it surprised me when moving in another bridgebone 

that there was a sort of lacquer compound under the bridgebone 

that really should not be there. Possible the top has been sprayed

with the slot of the bridge uncovered? A soft compound under

the bridgebone embarrasses the higher frequencies to come out.

But a lot of attention has been given to the edge inlays and

the overall inlays on sides and back.

Hardly any play wear on these frets. And luckily no damages

on the head points as this modelling is proven to accidents.

This is of course a rather strange move om these guitars:

They are stating that they re using Indian rosewood but 

we could also have used Madagascar rosewood, a rather

valuable species. No price differences?

 

Asturias John Mills Model 3456 Classical Guitar (M. Matano) EN

  

Presented here is the Asturias John Mills model

 Nr. 3456. Similar to the MJ 15 that later has been

renamed to model "Custom". It costed about a 1000

to 1500 Dutch guilders back in 1980 The addition

'made by Masaru Matano" makes it in fact all more 

interesting. He was a very gifted luthier and I must 

say: Everything you are looking for in a classical

guitar simply is there: Lots' of volume, clear tone,

good separation, strong and beautiful bass response

and apart from that all it colors nicely once striked

at different spots on the strings. Scale: 655 mm.

As the headform already attests, this is a genuine

Antonio de Torres model made by Mr. Mantano.

A good thing to see on this guitar are the Gotoh tuners

invariably used on these high end guitars. They work

like butter and in fact are technically spoken better

than their Spanish equivalents from Fustero. SOLD

Though some slight nail damage, no fret wear so this 

guitar can serve a new owner for years to go. The top-

nut has been adjusted to a better hight.

At the end of the collaboration most likely as this label most

of the time was used with a production number stamped on it.

Masaru Matano never did that but those later 3456 models 

might be good as well regarding sound as standards were 

high at the Asturias workshops. Masaru Matano left the

Asturias workforce around 1981. In this way this guitar 

can be dated a bit.

An even more close look at the label.

The body still made with a spruce soundboard and that

is responsible for its' nice clear voice but still with the

warmth you want from a classical guitar. The sound-

board has been provided with a 7 fan bracing according

to most Antonio de Torres guitars. SOLD

For those who want to study the rosette even more closely.

The string tie block has been edged with a harder material.

In fact good to prevent any damage to the wood itself. A

slight damage near the bridge just where the first string has

been tied. A typical damage that occurs when the string 

once under the proper tension suddenly looses. I always 

advice my clients to put a knot in the string tp prevent

these kid of images for the first 3 strings. A new

bridgebone has been added as well as new strings

Knobs that can be switched if wanted. The same tuners

as on a Hirade / Takamine guitar and I also saw some

Asturias guitar with a bit of a Takamine like headstock.

It wouldn't surprise me that at a certain period this brand

was involved for a while. Rollers cleaned as well as

the fretwork on this guitar.

Amalio Burguet Model AB (2006) / Amalio Burguet model 1A (2005) EN

  

Presented here is the top model of Amalia Burguet, the

so called AB (Amalio Burguet) model. I'm not sure wether

if every AB model has been equipped with a so called 

"Doble Tapa" which means a layer of a softer wood (spruce) 

mounted before the back, the way Manuel Contreras 

reintroduced. This one is provided with this double top 

(or back). Besides that the sides have been veneered with 

a layer of Cypress from the inside. Difficult to detect 

differences between these models and a 'normal" guitar 

but the response of the higher notes is beautiful rounded 

and very even in sound and in fact comparable to a

Jose Ramirez 1A which is no surprise as Burguet also 

built guitars in the "Madrid" tradition. Lot's of volume, a

 bit darker sounding and a good playability at the same 

time. Scale is 650 mm. Playing action measured on the 

12th fret is 3 mm for the 1rst and 4,5 mm for the 6th string 

with about 3 mm of protruding bridgebone that makes it

possible to even lower the playing action. What is of 

even more importance is that the strings are making a 

steep angle over the bridgebone so no loss of tone 

when altering the height of the strings. List price at this

moment: Around  5900 Euro's for this example 

Now: case included: Price € 2500,-

A question of trust of course but I guarantee a playing action

of 3 mm for the 1rst and 4,5 mm for the 6th string here.

  

The head presented here has the carving "AB" in

the furthermore graceful head design.

A fine grained spruce top with a bracing of its' own.

You can't describe it as a lattice bracing but it is also

far from a traditional fan bracing. More about this

bracing and a slight problem around it further here

The rosette as well as the edges are beautiful executed

regarding inlay work.

Enough bridgebone left to even lower the strings without

sacrificing anything from the tone as the strings are making

a steep angle over the bone.

I've included this picture as you can see a varnish

crack that runs from the bridge to the sound hole

on the left. As a restorer you would like to know

wether it is a crack all through the wood or just

in the top layer of the varnish. Therefore a light

bulb works well, especially with a spruce top as 

this wood shines through. Together with a close

inspection with a mirror the conclusion can be 

drawn: No crack on the inside visible but the 

cause became clear to me:

One of the braces for the soundboard in that area

came loose in the past, thus causing a weak spot in

the soundboard there as a result from the tension

of the strings. Regluing the brace was not a big

problem and strengthening the spot in this way

has been executed. It doesn't' has any influence

on the final sound. The bridge has also been made

out of Madagaskar Rosewood as is the veneer

layer on the front of the headstock.

For me a bit of an odd looking type of rosewood though

investigations learned that Burguet uses Madagascar 

rosewood for his premium model guitars but a remark 

has to be made. The most recent AB models aren't 

equipped with Madagascar rosewood, though a model

with this species still can be ordered but at "another

price' and under another name.

This is the more recently launched Amalio Burguet 

Anniversary. Description learns us that this model 

in fact is identical to the older presented AB model

but again the Madagascar rosewood option can be

had here. Here beyond you will find the other extra's

on this model:

- Wood dried for more than 20 years has been used.

- The soundboard has been made out of solid spruce.

 - A special mother of pearl decoration on the head.

- Solid Madagascar rosewood  (but in fact laminated!)

- Sides are cypress laminated but on the older AB 

model rosewood has been used.

- The back has the so called Doble Tapa (Spruce layer)

- Bone has been used for topnut and bridgebone.

- Bridge made out of Madagascar Rosewood.

- Use of nitro -lacquer for this instrument.

- Handmade in Spain.

Great tuners as well and I think we have to be grateful

the older Spanish luthier companies stopped using the 

Fustero tuners as the company no longer exists. They 

made beautiful tuners but mechanically spoken not the 

top. These tuners are the top line of Gotoh 35AR510P.

but also can be found on the internet under "Gotoh

Hauser" tuning keys. (See below)

For more information please click on the picture. These

tuners are far superior to any others I've come across, 

including the Fustero's and other brands.

And with their knobs clinched on the axes. The "AB" 

monogramme has been carved out of the wood as

opposed to the "Anniverario"  model where they

made use of a pearl inlay. In fact carving requires

moer work....

As can be studied here: No fret wear. In fact a guitar 

like new! It comes together with a like new case.

A sturdy case and most likely from Spanish origin

as were the older guitar cases around the Ramirez

and Contreras concert level guitars.

Amalio Burguet Model 1A

Presented here is an Amalio Burguet guitar that has a 
bit of a disturbing label. The Burguet company nowadays
has two comparable models: 1A and the "Amalio" model.
This model has been discontinued as it is already almost
20 years old. What puzzled me were the rather simple 
tuners. Contact with the Burguet company learned that
they never used these tuners so probably a swap from 
one of the former owners. SOLD.

The way the more luxury details are executed on this

guitar is pointing towards a concert worthy instrument.

The inlay of the string tie block and the extra ornamen-

tation of the edges around the soundboard are proof

for that. Moreover, I think that the bridge has been 

made out of Brazilian rosewood. Scale: 647 mm.

Another striking feature is the headform. On the cheaper range

of the Burguet guitars, the headform is more simply executed.

Width of the topnut is 52 mm. Ebony fingerboard.

The way the rosette has been built up can be studied here.

As the Burguet company is stating that there is no

comparable model nowadays we have to point out

the similarities with their present models. One would

conclude it to be comparable with the 1A Cedar model.

These tuners do not belong on this guitar. I've had

contact with them and they stated they never used

these kind of tuners. Anyway, they work sufficiently.

The rather more luxury inlay on the edges of the back

and the central inlays have been finely executed. The 

cedar model 1A which is priced nowadays at € 2590,-

has the same neck inlay as the model presented here. 

The edges around the soundboard are also there and

comparable.

A closer look to the back of the soundbox should be 

convincing. But it is not clear wether if Indian rosewood

has been used for this guitar. Anyway rosewood must

have been used as inspection from the inside proves.

Use of certain lacquers tend to color a guitar a bit

yellowish over time.

On some new models the rosettes are more simple executed.

One could say: "More modern and according to these times".

For people interested in this guitar: The fretwork is still very 

good though it is possible that this instrument has been refretted

in the near past. It has a scale of 647 mm which is remarkable.

Visible here are the two dark vertical inlays in the back

of the neck with in between a layer of wood, possibly

placed in the reversed direction to strengthen the neck

and thus to prevent it from warping.

I've repaired some damages to the soundboard as the bare 

wood was visible and prone to a further collection of

dirt. Though it carries various traces of use, the sound-

board is stable now and has no cracks or whatsoever.

Some pictures of the bridge though the wood used 

has a more orangy appearance in reality.

Also the way the wood "figures" is a bit "Brasilian" like

though it is known that the Burguet company also made

use of the rather similar Madagascar rosewood.

In the right side of this guitar there is a repaired crack.

It is stable now and well done from the inside. However, 

I think the outside could be French polished in a better

way. I will take care of that.

And from another point I photographed this repaired crack.

I dare to guarantee this guitar regarding this issue. But

therefore the price has been lowered of course.