Juan Orozco Model 10 (1978)

  

Presented here is my Juan Orozco model 10 guitar.

The series 8, 10 and 15 have been developed in a

collaboration with Masaru Kohno and Sakurai.

These instruments were produced in the Tama 

workshops. Even Tama had the same models on the 

market. For a more complete summary about the

history, just check one of my other Blogs: "Juan 

Orozco, dealer or luthier".

The label with the year of production and beyond that

on the left: 10 - U - 22  the first digits being the model

number. Juan Orozco was a New York based dealer

and luthier. Wild stories are spred that a lot of these

guitars were exported without any label and that im-

porters could stick a label inside it to their liking.

I doubt that! In a personal letter to me, Juan Orozco

confirmed this collaboration though the Kohno

company kept on denying it!

These guitars can be recognized by their double ebony

strip placed in the back of the neck. A Fleta designed

headstock which has been replaced around 1980 and

the slanted short sides of the bridge. As also was 

common in the Kohno guitars, the inner part of the

soundbox often was slighty sprayed (or laquered).

And of course these guitars were sprayed with the

so called "cashew nut varnish".

The Fleta head that can be found on the earlier Orozco 

guitars. The original tuners should have carved roses.

When Masaru Kohno won several prizes for his guitar

building and developing work, Ignacio Fleta was in

the jury, stating that the Kohno instruments sound-

wise came close to his own guitars .

And presented here is the later headstock.

The lattice bracing used in these guitars can also be found in

the Kohno, Sakurai and Tama guitars of that period. Kohno

used three different bracing. The middle one was copied in the

Tama produced factory guitars though in fact not comparable 

to the Greg Smallman lattice bracing. 

A nice rosette completes these guitars that were built

very neatly and posses a sturdy, powerful Kohno-like

sound. But remember, not all models were equal in

quality. I was able to buy a model 8, 10 and 15. The

model 10, though a little less in appearance was by far 

the best sounding guitar at that time. I still have it but

it may go now as I'm thinning my collection.

Here a better picture from the bracing found in the 

Kohno, Sakurai ans Juan Orozco guitars for the world

market. Masaru Kohno was widely copied in the 70's.

As opposed to most Masaru Kohno guitars, the Orozco

labelled guitars were equipped with a 650 mm scale.

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 645 mm. SOLD.

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 back of 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.

Not 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. Reason for selling

this guitar is that it came to me in a deal but I'm not

a Flamenco player. Therefore it may go.

 

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.