Juan Montes Rodriguez Model "NINO" (?) 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. Scale 650 mm.

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 built qualities are really OK and a Spanish guitar with

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

 

A better spacing for the topnut was one of my wishes here but 

that can be done quite easily. Very smooth working tuners though.

The neck has been provided with an ebony layer.

You can always swap the knobs if you like 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.

I found out that similar Flamenco guitar out of 2024 from this

luthier had the model name: "Nando" and that one was built

with cypress for back and sides. The company has stated that

they exclusively built this guitar for someone in the Nether-

lands, called Bertil who ordered another rozet as well and 

wanted to name the guitar "Nino". Comparable to the model

146 or 46 M but with some unique features.

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 prone to accidents.

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

They are stating that they re using Indian rosewood but 

they could also have used Madagascar rosewood, a rather

valuable species. No price differences? Cypress of course

is a native wood in Spain but rosewood has to come from 

far. Madagascar rosewood possibly even has already 

been placed on the CITES lists.

 

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.