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

 

You will not meet them frequently but Andres Martin made 

a lot of stringed instruments in his life. He has therefore been

mentioned in the Jose Romanillos dictionary as someone who 

learned his craft with Julio Bustamante and Marcelo Barbero. 

He was influenced by Santos Hernandez and Domingo 

Simplicio. He taught his brother in law, Javier Rojo Solar. 

His workshops were at the Rollo 3 and at Calle Divino Pastor 

22 in Madrid. He died in 1977. Scale of this guitar is 660 mm. 

Width of the topnut is 53 mm.  Price: € 900,- case incl.

It must have been a lot of work to create a rosette like this...

And the same thing counts for the edge purflings.

              

                The scratch plate could point towards a flamenco model as

             does the cypres sides and back but classical Spanish music suits

              this guitar as well. Profound basses and a bit of the old school

              "wooden"  tone. A good example of this sound can be found on

                YouTube where Nikos Tsiachris plays a 1975 classical guitar

                    from his hand. The guitars' own frequency lies on a G#, 

                  about 104 Herz.

               

Here the signed label can be admired, stating that he already

was working at the Divina Pastor 22 location in Madrid.

To our believe the year written at the lower right on this

label mentioning the year 1960. Apart from that in the

inside of this guitar a stamp can be found on the upper

bout on the left side. Near the sound hole on the right

the guitar has been signed (by 2 persons?) and dated

1960 even being numbered 275 and no doubt within 

the handbuilt range we can confirm.

            

His graceful and immediately recognizable head, but also

showed here is the condition of the lower frets. Most of the

time an indication in what sort of condition the rest of the

fretwork is. He also used the typical Fustero tuners from 

that time. Fretwork has been levelled and polished.

                                              

Probably I will French polish the neck as it doesn't feel

that comfortable at the moment. Or leave it the way it is?

No, on the right it looks (and feels) much better. 

Nice inlay work all around this instrument proving that

it is far from an entry level guitar. But that has already

been confirmed by the rosette itself.

And the Fustero tuners with the typical knob form

from the early sixties. The D tuner probably had a knock 

as it is slightly bowed. I left it that way as it still works

to full satisfaction.

The Cypress back with only one small crack that already 

has been stabilized. Take a look at the lower right. Do not 

expect such imperfections to have a lot of influence 

on the sound.

And the front ands back of the head, reasonably free from 

damages. A new topnut was necessary. On later models

the small center point that sticks out, has disappeared.

That was prone to damages of course and as for me, I

would have that disappear as well but I know, not original

anymore. Moreover, Martin did this later in time so it is

confirmation for this guitar coming out of a certain period.

This picture has been added as I used the string 

savers to get an even better angle over the bridge-

bone but they were in fact not necessary. A crack

running from the left wing of the bridge has been

repaired and is stable now. No need to worry about

that as it still was closing. No tensions there!

Another example of Andres Martins' work can

be found on YouTube: a 1975 model. I must say:

its' sound wasn't that remarkable as it sounded

too modest to my ears. However, when placing

a new set of high end strings hat promised more

volume and high frequencies it gives a beautiful

balanced sound though still "old school".

A "Marcos Escano" labelled guitar - 1999 (Flamenco?). EN

The repaired Marcos Escano guitar from 1999. Though

an unknown luthier to this day, details are convincing

it to be a good instrument and very lightly built. What

could have been expected the guitar gives lots' of 

volume. Scale length 645 mm Width topnut: 50 mm.

And the few cracks in the soundboard have been 

treated to my satisfaction. Price 450 Euro's.

Hardly visible are the cracks here, Even after a 

close inspection. On the left just above the bridge 

you can see some traces of damage when I needed

to remove the bridge. As it was repaired by someone 

else in an earlier stage but done with the wrong glue 

the bridge came loose again. All stable now but the

amateur who did this should be ashamed....

A nicely sculpted head what betrays work of a real

woodworker. Everything is showing a high degree

of workmanship. Ebony fingerboard and newly made

topnut and bridgebone. Scale is 645 mm. Width 

topnut is 50 mm.

The back of the head with the reinforcement 

all the way up to the top of the head.

A nice cypress back with no frills but strange thing is 

that nice inlays are made on the sides, a bit unusual...

Almost undamaged after 25 years of service.

Frets have been redressed and can deliver service

for years to come.

I think the tuners to be from Alhambra as the prefix "A"

can be detected here on the left. You need to know that 

there actually is a prefix there! Clinched Axe holders

which certainly is a sign of good quality. Alhambra

delivered a lot of tuners to individual luthiers so that

explains the use of these high grade tuners on this 

guitar. Also the knobs can be switched if wanted.

And the tuners on the right side of this guitar.

The simple label and maybe this luthier didn't built 

that many guitars. We hope to find out in the future.

Recently we heard about a Marcos Escano who is a 

a quite successful musician in Spain. Most likely 

he gave it a try: Building guitars. He seems to be 

situated in Malaga. Maybe an opportunity to visit 

him as I'm frequently in that area.

The blocks on the right from the label are a 

reinforcement of the two halves of the back. A lot

of extra work as a strip of wood would have done 

the job as well. This must have been done by someone

who is accustomed to wood working.

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.

Yamaha GC(5 ) Grand Concert guitar 1979

A remarkable Japanese product is presented here.

A very good instrument at an affordable price. Above

all it is still in near mint condition but read all the

comments here beyond regarding this guitar.

Scale length: 650 mm. Width topnut: 53 mm.

Bodies own frequency: G which means 98 Herz.

Condition: Very good. Price: SOLD.

This is the real bottom as normally these guitars

are offered at Reverb between 1000 and 3000

Euro's depending on their condition and the

use of Brasilian rosewood on the earlier ones.

A closer look at the Yamaha branded guitar, type GC-5.

However, do not mistake yourself as this one can't be compared 

with the later GC-5 solely factory made guitars from this

company. Just take a look at the label here beyond as that

has been hand signed by the late great Hideyuki Ezaki.

He consulted Eduardo Ferrer, a historic dynasty of

guitar makers from Granada, for a few years.

And the label that has been hand signed by this venerable

luthier who worked for Yamaha until the late eighties of 

the past age. Later he started his own workshop and made 

premium concert guitars starting from 6.000 Euro's onwards.

Being this old this, guitar must have been a part of a 

collection as there is hardly any fretwear to discover.

Axes of the tuners are clinched to their base plate

which is a sign of quality.

Not any comments to give on this guitar so far, apart that 

it surprised me a lot sound wise. Full tone with lots of

volume and a nice even quality tone from the low to the

high registers.

Remarkable maybe as sides and back haven't been made

from solid woods, though rosewood on rosewood and any

comparison with all solid guitars in the 2000 / 3000 Euro

category (new) such as the Alhambra 11C was remarkable

as it simple can easily compete with that model.

The back of the  head is still in an undamaged condition.

The former player has treated this guitar with respect.

But he or she might even have kept it in its' case during

a long period of time.

Neck is absolutely straight with no dings or annoying

scratches. Tasteful edge inlays are there as well. And

let's not forget that the Jose Ramirez 1A guitars were

also veneered on the inside, often done to soften the 

tone a bit. For a lot of Japanese companies the laminated

woods used could in fact better withstand the inter-

national transports with ships and/or airplanes.

Nice rosette and a matching inlay in the string tie block.

The surrounded white binding prevents damage often 

due to the tension of the strings on the string tie wood.

And a closer look, now possible when you click on

this picture.

This 1979 guitar is spruce topped.

 

Alhambra 11C Concert Guitar (near mint) / Alhambra 5P (N.(ew) O.(old) S. (stock)

 

One of the well known and reliable brands from Spain

regarding gut stringed guitars. They are producing student

guitars up to professional level ones. Search for their

website to find all the information around this brand. 

This one will be a little more difficult to find but in fact

it is a genuine 11P model. The only thing I have 

discovered that the C could stand for Cedar topped

or a C profile neck. I can't confirm one or the other

but I've read it somewhere. Scale length: 650 mm.

Width topnut 54 mm. Frequency body: 110 Herz.

This guitar is in near mint condition apart from 2 small 

dings.  And remember, I always buy the guitars on sound 

in the first place. Though Alhambra is a reliable company 

there can be remarkable sound differences, even between 

the same models. Price including foamed case with

ties for transport on your back: SOLD.

The head that is in an undamaged condition on both front

and back. As you can see the knobs are clinched onto the

axes of the tuners. 

Also the axe holders haven't been bowed out of the mounting

plate but clinched on it. A sign of higher quality. The prefix

A on top the tuners stands for "Alhambra" of course.

The higher end models have a head modelled differently

from the cheaper range of guitars.

A beautiful back with a rather straight figuring. The desire 

for a wild figured back certainly is there with several

guitar players but these straight figuring is not as prone

to cracks in the near future as a wild figured back

would be. Solid Indian rosewood.

I include this picture most of the time to show potential 

buyers that there is no wear on the lower frets. Straight

neck and carefully placed fretwork!

The body itself is showing some reflections due to the

mirror like varnishing of the top. And that counts as well

for the back and sides. Cedar top.

It is possible to ask the production date from the 

Alhambra company if there is a need to.

Two nice extra added fret ends for the demanding 

pieces. Of course placed in an ebony fingerboard.

What I particularly like is the surrounding of the string 

tie block. They will protect the bridge from damages in 

the future and is a pleasant sight at the same time.

With its' nice scale of 650 mm and a regular

width at the topnut of 52 mm this guitar is a

nice one to play. The topnut has been securely

carved though I've finished some rough ends

to make it look even more perfect. A good

bridge bone was needed as well.

And as always I will serve my buyers with assistance after 

the buy as I'm able to make all kinds of repairs in case that 

should be necessary.

ALHAMBRA 5P (N.O.S.)

Nieuwe oude voorraad wat betekent dat deze gitaar 

nooit bespeeld is en zijn tijd in de verpakking heeft

doorgebracht tot nu toe. Alhambra weet opmerkelijk

veel kwaliteit te leveren voor een interessante prijs.

De uitdrukking N.O.S. zie je vaak bij Engelse en

Amerikaanse verkoopsites. Gewoon blijven liggen.

VERKOCHT

De afwerking is in alle details bijzonder te noemen.

Breedte topkam: 52 mm. Mensuur: 650 mm.

De 5P is uitgerust met de ebben verstevigingsstrip

die de hals een stabiele levensduur meegeeft.

De lastige plekken. Ook onberispelijk gelakt.

Zo nieuw dat de weerspiegeling de fotograaf

nogal eens parten speelt. Vandaar de foto's van

de achterkant in twee delen.

Een mooi stuk Indiaas palissander dat Alhambra voor 

de achterkant gebruikt heeft en in feite is de scheurvrij-

heid groter dan die van Brazilliaans palissander, de zo 

gewilde variant.

"Matching sides"  zoals dat zo fraai in het Engels klinkt.

De rozette die van tijd tot tijd een ander aanzien krijgt.

Dat garandeert natuurlijk ook een bepaald uniekheid.

Ingelegd snarenblok op de kam voor die net wat luxere

uitstraling. Uitgerust met een goede set D'Addario snaren.

Even die extra randinleg.

En fraai vormgegeven mechanieken die ook nog eens

prima hun werk doen. En dat geldt ook voor het 

zorgvuldig gefabriceerde topkammetje, een niet

onaanzienlijk voordeel bij Spaanse gitaren.