That was really enjoyable and an interesting half hour Aaron. Yes please, do more when you can. What an amazing collection of instruments and history to have in one room. Full on envy here. If you'd like a suggestion to ruminate over, what about a history of your own development as a builder so far? The changes you've made over time in the construction of an instrument and why, for example.
Aaron, So much fun to be led down the Yellow Brick Road of Hauser (since you used the b&w/color analogy). I too am a classical guitar luthier. I do hope you would consider (in another presentation) talking a little about differences you found inside the sound box in Hauser Sr. guitars. This vidio was fascinating! Thanks for making it.
Nice video. In my Hauser research paper I did for my masters degree 20 years ago I pointed out that Hauser added the graft to the point of the Vee joint as you mentioned. Something Ioften find in Hauser guitars. Well done Aaron. Thanks for sharing.
This is a great exploration of Hauser guitars, which of course fascinate me and even the copies of Hauser guitars built off the 37 plans, the really fine ones with the builder’s own input I find are amazing. I’d be interested if you had any measurements of the action at the 12th fret for the six string and first string as among sooo many other things, I find the action height really influences a guitar’s sounding voice.
Wonderful. Another German builder who I would love to learn more about is Monch. His instruments are light and responsive with a beautiful quality of sound.
Thank you! I don't know much about Monch particularly other than that which has already been written. That being said, I have a guitar of his from the early 60's that belonged to Albert Augustine. It was given to the father of the previous owner by Augustine (who was Augustine's personal physician). Needs some minor restoration but it will be available for sale in the not too distant future.
what a great collection of guitars, wonderful. I think everyone should own a hauser sytle guitar. my luthier in germany build me one with on old spruce top coming from the Hauser I stock, about 100 years old now. love the style and the sound hauserish guitars have.
Hello, I enjoyed seeing your presentation, also I enjoyed playing by Chris Ladd. I have 2 questions. 1. All strings used on the guitars look the same. What are they? 2. Bridge areas of all guitars tend to kind of swell a bit with time due to the accumulated string tensions. Then there are 2 kinds of instruments. One is that the area between the bridge and the sound hole also gently swells at the same time. For example 2002 your guitar and the Fleta shown and some Hausers shown are like that. The other is that the area gets sunken instead. As a guitar builder what do you think is the main cause that differentiates? Thanks.
Hi Thank you for your kind words, greatly appreciated! To answer your questions, I generally use a combo of Augustine trebles and La Bella 2001 series basses. Most common would be the Regal trebles paired with medium hard basses. For lighter tension, Imperial trebles with medium 2001 basses. I like La Bella trebles very much and use them esp on my flamenco guitars or where I want more clarity and brightness to the trebles, Most guitars are made with an arch to the top, either by bracing it that way or simply arching the bridge which will pull the top into a bit of an arch. Why some tops are more affected by the torque of the string tension has much to do with the top bracing, top thickness, string height and the tenacity of the materials. As Robert Ruck said to me almost 30 years ago though, an arch is an arch. If the top has a dip in front of the bridge as many often do with enough time, that is in fact an arch. So while people think that it demonstrates structural failure....within reason it should not be viewed that way. Entirely collapsed is another matter of course and in all things, it just depends.
I would really interested in a Rubio discourse. From It's early years to the cambridge period, with possible info on the construction of the guitars and influences
Hummm...that sounds like a great idea. I currently have in stock my all time favorite Rubio, from 1969, when he was back in England but just before the advent of his workshop guitars (made by Paul Fischer). It's a monster and certainly flies in the face of the (misguided imo) concept that his NYC period represents his apex as a builder. I should also add in all fairness that the PF stamped guitars I have had in my possession have all been excellent, some downright spectacular.
Very nice and insightful video. I was wondering though? did he really use mahogany for the neck and not cedar? That seems odd to me but I guess maybe it was more accessible to him
Thank you! Wood ID can be tricky and it can sometimes be hard to tell the difference between the two (mahogany and cedar) but so far it seems to me in my experience with these guitars, he definitely either favored mahogany or it was what he could get. My inclination tends toward the former
Aaron, enjoyed your video. One suggestion, I would spend more time showing the backs of the guitars (simply because I love seeing the wood). You want a guitar to sound wonderful, but if two were equal in that, then I'd choose the one whose wood I was taken with. And, it would be interesting to hear your take on how different woods impact the voice of the guitar. Read some where that Kathrin Hauser prefers Indian over Brazilian because of the "warmer" sound. Speaking of Kathrin, it would be interesting to continue your comparisons of Hausers to Hauser IIIs and Kathrin. Thanks again. PS. Damn, wish I could play half as well as Chris. Probably be OK with a quarter as well.
Thank you for your comments. Perhaps it speaks the the individual nature of each instrument but I rarely find that all else being equal speaks to the voice or the feel of any instrument. That being said, I agree the visual beauty of the materials are always a lovely addition to the raison d'être of the guitar as a musical instrument. Certainly it speaks to my own heart as a luthier. As such I will do my best to bring that into the discussion. Relative to the continuation of the Hauser lineage and the work of both Hauser III and Kathryn Hauser....they are very much among us as living builders and I am of the opinion that I have little to offer that they can't speak to better themselves. Other than to say they are admirable contributors to a very impressive legacy. But when I have a guitar by either to represent, I will definitely be speaking to the actual guitar in my hands and how I feel it best exemplifies the tradition of their predecessors.
Aaron, thanks for your reply. I’m very much a fan of your posts on guitars and the videos. A guitars voice? Yes, yes, yes. Aesthetics? I’ll vote for both. Doing your best to bring that to the discussion? Yes you do!!
They are certainly among the rarest although thankfully there are a number of excellent extant examples out there. One reason I felt it important to create this video is that among the Hauser mythology is this idea of a very static design with verbiage that is kind of meaningless..."the Hauser sound" for example. While there certainly is consistency in these guitars, that which I would ascribe as "the sound" is one of how it the voice is composed rather than where it lands on the bright/impersonal vrs lush/romantic scale. Anyways I wanted to convey the range of his work over the years and that when building guitars out of wood, you are always working to what the materials need rather than making them directly conform to you...which would be the implications of a truly static design.
Fascinating overview of the Hauser guitars. What a treasure trove! Chris did a great job on the short clips.
i just stumbled upon your channel. Boy oh boy I look forward to the next couple of months going through your content !!!!!!
Thank you for your kind words and don't hesitate to reach out if there is anything I can do for you!
Thanks so much! Wonderful info and guitars.More please.
This was an awesome presentation of a most fascinating master of lutherie. Kudos to you Aaron...keep on keepin' on!
Thank you!!
@@aarongreen7556 This is Joel Henderson...Stauffer is my middle name. lol
Thank you Joel! Hope you're well buddy!
@@aarongreen7556 All good, sir! Wish you could sell my Velasquez, so I could apply the money to a Llobet Model Hauser!
Working on it! That is a truly lovely example of his work by any standards so I think its just a matter of the right person coming by
Enjoyed learning more about Hauser! Thank you.
Glad you enjoyed it!
Excellent video on your Hausers!!!
Glad you liked it!
That was really enjoyable and an interesting half hour Aaron. Yes please, do more when you can.
What an amazing collection of instruments and history to have in one room. Full on envy here.
If you'd like a suggestion to ruminate over, what about a history of your own development as a builder so far? The changes you've made over time in the construction of an instrument and why, for example.
Thank you and I will definitely look to doing that very thing.
Great video! Thanks for sharing Aaron.
thank you!
Aaron, So much fun to be led down the Yellow Brick Road of Hauser (since you used the b&w/color analogy). I too am a classical guitar luthier. I do hope you would consider (in another presentation) talking a little about differences you found inside the sound box in Hauser Sr. guitars. This vidio was fascinating! Thanks for making it.
Thank you!
Really interesting and the guitars sound lovely.
Wonderful
Thank you for making this very interesting video!
thank you! glad you enjoyed it!
Thanks for making this video---I am a luthier and very interesting information!!!
Glad you enjoyed it!
Nice video. In my Hauser research paper I did for my masters degree 20 years ago I pointed out that Hauser added the graft to the point of the Vee joint as you mentioned. Something Ioften find in Hauser guitars. Well done Aaron. Thanks for sharing.
This is a great exploration of Hauser guitars, which of course fascinate me and even the copies of Hauser guitars built off the 37 plans, the really fine ones with the builder’s own input I find are amazing.
I’d be interested if you had any measurements of the action at the 12th fret for the six string and first string as among sooo many other things, I find the action height really influences a guitar’s sounding voice.
Most guitars end up getting set up here to be at 3.5-4mm on the bass side (depending on a few factors) and 3mm at the treble maybe a hair under.
@@aarongreen7556 Thanks, that lines up with what I’ve seen and where I enjoy my own Hauser style guitars setup at.
You did the instruments justice. Bravo!
Thank you!
Wonderful. Another German builder who I would love to learn more about is Monch. His instruments are light and responsive with a beautiful quality of sound.
Thank you!
I don't know much about Monch particularly other than that which has already been written. That being said, I have a guitar of his from the early 60's that belonged to Albert Augustine. It was given to the father of the previous owner by Augustine (who was Augustine's personal physician). Needs some minor restoration but it will be available for sale in the not too distant future.
@@aarongreen7556 sounds nice! I have a '59 of his.
what a great collection of guitars, wonderful. I think everyone should own a hauser sytle guitar. my luthier in germany build me one with on old spruce top coming from the Hauser I stock, about 100 years old now. love the style and the sound hauserish guitars have.
Agreed! Hopefully there is a great Hauser I in your future and maybe a Green too :)
Hello, I enjoyed seeing your presentation, also I enjoyed playing by Chris Ladd. I have 2 questions. 1. All strings used on the guitars look the same. What are they? 2. Bridge areas of all guitars tend to kind of swell a bit with time due to the accumulated string tensions. Then there are 2 kinds of instruments. One is that the area between the bridge and the sound hole also gently swells at the same time. For example 2002 your guitar and the Fleta shown and some Hausers shown are like that. The other is that the area gets sunken instead. As a guitar builder what do you think is the main cause that differentiates? Thanks.
Hi
Thank you for your kind words, greatly appreciated! To answer your questions, I generally use a combo of Augustine trebles and La Bella 2001 series basses. Most common would be the Regal trebles paired with medium hard basses. For lighter tension, Imperial trebles with medium 2001 basses. I like La Bella trebles very much and use them esp on my flamenco guitars or where I want more clarity and brightness to the trebles,
Most guitars are made with an arch to the top, either by bracing it that way or simply arching the bridge which will pull the top into a bit of an arch. Why some tops are more affected by the torque of the string tension has much to do with the top bracing, top thickness, string height and the tenacity of the materials. As Robert Ruck said to me almost 30 years ago though, an arch is an arch. If the top has a dip in front of the bridge as many often do with enough time, that is in fact an arch. So while people think that it demonstrates structural failure....within reason it should not be viewed that way. Entirely collapsed is another matter of course and in all things, it just depends.
I would really interested in a Rubio discourse. From It's early years to the cambridge period, with possible info on the construction of the guitars and influences
Hummm...that sounds like a great idea. I currently have in stock my all time favorite Rubio, from 1969, when he was back in England but just before the advent of his workshop guitars (made by Paul Fischer). It's a monster and certainly flies in the face of the (misguided imo) concept that his NYC period represents his apex as a builder. I should also add in all fairness that the PF stamped guitars I have had in my possession have all been excellent, some downright spectacular.
Very nice and insightful video.
I was wondering though? did he really use mahogany for the neck and not cedar? That seems odd to me but I guess maybe it was more accessible to him
Thank you! Wood ID can be tricky and it can sometimes be hard to tell the difference between the two (mahogany and cedar) but so far it seems to me in my experience with these guitars, he definitely either favored mahogany or it was what he could get. My inclination tends toward the former
Aaron, enjoyed your video.
One suggestion, I would spend more time showing the backs of the guitars (simply because I love seeing the wood). You want a guitar to sound wonderful, but if two were equal in that, then I'd choose the one whose wood I was taken with. And, it would be interesting to hear your take on how different woods impact the voice of the guitar. Read some where that Kathrin Hauser prefers Indian over Brazilian because of the "warmer" sound.
Speaking of Kathrin, it would be interesting to continue your comparisons of Hausers to Hauser IIIs and Kathrin.
Thanks again.
PS. Damn, wish I could play half as well as Chris. Probably be OK with a quarter as well.
Thank you for your comments. Perhaps it speaks the the individual nature of each instrument but I rarely find that all else being equal speaks to the voice or the feel of any instrument. That being said, I agree the visual beauty of the materials are always a lovely addition to the raison d'être of the guitar as a musical instrument. Certainly it speaks to my own heart as a luthier. As such I will do my best to bring that into the discussion.
Relative to the continuation of the Hauser lineage and the work of both Hauser III and Kathryn Hauser....they are very much among us as living builders and I am of the opinion that I have little to offer that they can't speak to better themselves. Other than to say they are admirable contributors to a very impressive legacy. But when I have a guitar by either to represent, I will definitely be speaking to the actual guitar in my hands and how I feel it best exemplifies the tradition of their predecessors.
Aaron, thanks for your reply. I’m very much a fan of your posts on guitars and the videos.
A guitars voice? Yes, yes, yes. Aesthetics? I’ll vote for both.
Doing your best to bring that to the discussion? Yes you do!!
Is there Hauser 1 1936 Segovia ？
Yes the 1936 Hauser in this video is a Segovia model
👏🏻👏🏻👏🏻❤️❤️❤️🙏🏻🙏🏻🙏🏻
People who have seen a Hauser are scarce, and you have a whole set.
They are certainly among the rarest although thankfully there are a number of excellent extant examples out there. One reason I felt it important to create this video is that among the Hauser mythology is this idea of a very static design with verbiage that is kind of meaningless..."the Hauser sound" for example. While there certainly is consistency in these guitars, that which I would ascribe as "the sound" is one of how it the voice is composed rather than where it lands on the bright/impersonal vrs lush/romantic scale. Anyways I wanted to convey the range of his work over the years and that when building guitars out of wood, you are always working to what the materials need rather than making them directly conform to you...which would be the implications of a truly static design.