Amazing craftmanship. Its so good that there are people like you who can fix those old guitars as they mean a lot in understanding the instruments aging. When the wood gets this old it really sounds amazing. Thank you for a great video.
That is awesome. I am an aspiring luthier and a current engineer. I really appreciate the time you took to produce the drawings also. I love being able to apply the hand skilled artistry to produce a fine instrument and use me engineering skills at the same time. Thank you very much for this presentation.
absolutely true. To alter the instrument to what "you" think is better is not an option. It would be like alter a Stradivarius violin because todays technique in violinbuilding should be better. Maybe taking the back off and make a new in carbon fibre? Ehhhh NO Its all about heritage and the knowledge to assemble a guitar doing as little as possible in fixing it like you did. The woodwork shows you are a true master. Thank you, people like you are needed, always.
The best restoration video I have seen and it is good to hear the sound of the Ortega guitar, I consider this video and your responses to be the best = mejor del mundo nada mas nada menos. Thank you. Neil Ostberg,Wisconsin,U.S.A.
Francisco Herrero Gonzalez: Full course: Shellac The lacquer is an easy to do, but slow, it takes time and a little practice. Before varnishing a guitar, furniture or other instrument, it would be interesting to experiment with a small or furniture just any table. It may take three or four weeks. Upon completion you should spend a week to properly dry. This type of coating has advantages over other synthetic because in case of a tap can be restored again with a crankpin and some hairspray. In addition, the most important thing is that being a very thin layer, does not remove the sound of the instrument. The layers of synthetic varnishes are much thicker and difficult repairs. Still good classical guitars and violins are varnished with this system. Shellac is a natural product produced by an insect called "coccus lacquer". Necessary materials Quantity Description 3/4 liters Methyl alcohol - also called wood alcohol -. 200 grams shellac. (There are several types. Some come Dewaxed quality, are ideal for the soundboard to not darken the wood). 1 package of cotton or wadding to the crankpin. Several pieces of old cotton or plush (sheets, used shirts) 1 jar Small liquid petroleum jelly. ½ liter of ethyl alcohol 96 °. ½ Dozen sanding wood (very fine grain) 100 grams White of Spain. 250 grams of pumice. 4 empty glass jars with tight-fitting lid jam. 4 empty plastic cans for dispensing the preparation of shellac. 1 small sable brush hair for use in areas where there is no crankpin. Preparation processes 1. bottle ¾ liter of methyl alcohol added 1/3 volume bottle shellac introducing through a small funnel. If the bottle is full remove some alcohol. Leave about 12 hours to dissolve and move the bottle occasionally. 2. Prepare a little pumice pouring in a small handkerchief in the same fabric that we will use to make the crankpins. We closed with a rubber band or string and have it ready for use. It will serve to screen the pumice stone and apply it. 3. Make another equal to the target of Spain. 4. To make a crankpin a piece of cotton (about the size of a strawberry) is caught. Wrap it with a piece of cotton fabric or old plush. It is smooth and without folds. Secure it with a small rubber band. Make three crankpins. When not in use, enter them in the previously labeled so they do not dry airtight jars. If they get hard over time make new ones. 5. properly prepare the instrument leaving very smooth surface, using different abrasives falling grain to end sandpaper lowest point. 6. It should be operating in a ventilated place with low humidity. Ideally the humidity between 40 and 50%. 7. Label a glass jar to hold the pin that apply shellac. 8. Label another jar for another crankpin to extend pumice with alcohol. 9. Label another jar for another crankpin to extend the target of Spain. 5. properly prepare the instrument leaving very smooth surface, using different abrasives falling grain to end sandpaper lowest point. 6. It should be operating in a ventilated place with low humidity. Ideally the humidity between 40 and 50%. 7. Label a glass jar to hold the pin that apply shellac. 8. Label another jar for another crankpin to extend pumice with alcohol. 9. Label another jar for another crankpin to extend the target of Spain. Varnishing processes 1. With warm water and wetting a crankpin or brush lend a hand to the entire instrument to come out all the dust and the pores open. After an hour or two. a very fine sandpaper moves the entire surface. According to that wood is'll see if we need to repeat the process. 2. If you are going to give dye wood, do so before the next step. 3. Give a hand of mineral oil with a crankpin. Let dry for 12 hours. Some luthiers used beaten egg to be used as primer rather than the petrolatum. If it flaxseed oil as a primer used should be borne in mind that darkens the wood. 4. After lightly pass a very fine sandpaper started to shellac to the soundboard in a circular motion over the entire surface. Every two or three passes, add a few drops of liquid paraffin to the wrist so that it slides well. Work for an hour in past and turning continuous. Let dry for 12 hours. Save the crankpins in bottles sealed glass to prevent drying. 5. Drop the bag of pumice on the surface of the lid to implement the pumice. Then with another crankpin + shellac keep rubbing in circles for the pores they are completely sealed. Wait for it to dry 12 hours. If spurts appear in the coating to dry and continue after 12 hours. If you do not get with the pin, sanding to level. 6. Every two or three coats of shellac, once dry, spend a sandpaper finer grain. 7. Always keep in mind. You never spend the pin twice in the same place until dry ' 8. Pass the sanding lightly with one or two drops of liquid paraffin. 9. Sanding and continue giving hands shellac entire surface. They will go seeing results. Let dry for 12 hours. Never make two passes over the same spot. If not dry shellac, alcohol the back lift and also sticks to the crankpin. When it does not slide well crankpin add one or two drops of oil. 10. When a good finish is achieved, is passed to the final process. Finishing processes and shine 1. Put in a dispenser some ethyl alcohol 96 °. (No longer shellac) 2. Put on the wood few specks of white of Spain in 2 or 3 places and a few drops of Vaseline. 3. Grease a new crankpin with ethyl alcohol and extend over the entire surface three components rubbing in circles and see how it will be taking a crystal shine. Let dry and repeat the process to get a good finish. 4. Finish with past in the direction of the strands of wood. Traductor de Google para empresas:Google Translator ToolkitTraductor de sitios webGlobal Market Finder
Buckshot and the Pepperbox Thank you very much. In this case the priority was that the guitar could be played again. In other cases, we have organological priority and we have to face the work in different ways.
Sería buenísimo poder escuchar el sonido de esta guitarra antigua, esa música de fondo con guitarras metálicas no lo puedo disfrutar para nada y tampoco puedo imaginar ninguna coherencia con el instrumento restaurado. Felicitaciones por la respetuosa restauración.
They are library music for audiovisual, not available in shops or commercial channels. First song: Title: In Nature's Time Composed by: Robert Foster KPM Collection - CD n º 235 - "Classical Guitar and Strings" Second song: Title: Welcome In Composed by: Bob Foster KPM Collection - CD n º 204 - "Guitar Naturally"
@paolayoscar Hola, gracias por vuestro comentario. Todas las piezas añadidas en la tapa armónica son de pino abeto con más de 15 años de antigüedad, y encoladas con cola caliente.
Thanks for your opinion. I agree with you, it would have been better if we had had the recording of the sound of this guitar, I hope to do better next time. But when I began the reparation work, I was not thinking about making a video. A friend of mine made the video from some photos I had taken. I was amazed that he could make that with only a few photos.
Muchas gracias por tu comentario. Las piezas insertadas en la tapa son del mismo material que la tapa, de pino abeto viejo, con el tiempo la oxidación hará que el tono sea el mismo que la tapa original. Saludos.
Hermoso trabajo.. una consulta, no le pudiste dar color a la masilla de relleno con algún pigmento para que quede mas parecida al color de la tapa armónica?.. Saludos desde Paraguay..
Gracias por su comentario. Las piezas insertadas son de madera de abeto, no son masilla, y entre las opciones de teñir o esperar que la oxidación iguale el color de la madera al envejecer, yo escogí un camino intermedio dar un poco de color y esperar que el tiempo iguale el tono de las maderas.
@Poisonboy2die4 They are library music for audiovisual, not available in shops or commercial channels. First song: Title: In Nature's Time Composed by: Robert Foster KPM Collection - CD n º 235 - "Classical Guitar and Strings" Second song: Title: Welcome In Composed by: Bob Foster KPM Collection - CD n º 204 - "Guitar Naturally"
It's difficult to me to recomend something if I can not see the guitar. But I think it's better you use spruce than cedar because cedar it's in use a few time ago, and usually old makers made with spruce. About thickness, I don't understand your question. If you need for the soundboard you have to do similar thickness at the other parts of the soundboard, but if you need for the fan bracing, it depends on whether situation is on the treble or on the basses, and thickness others fan bracings.
@RoblesHu Gracias por tu opinión. La guitarra está restaurada guardando el máximo respeto con el original, pero con la intención de que pueda ser tocada y así ha sido con un buen resultado, de hecho mi modelo de guitarra romántica 1900 está basado en esta plantilla y responde muy bien. Seguramente tienes razón con la música que debía acompañar al video, en este caso ha sido criterio solamente visual del montador del video, creo que funciona bien visualmente pero quizá mejor música de l
Felicidades maestro Manjón, hermoso trabajo realizado por el Sr. Cada vez que lo veo me emociono con el contenido de la armonía entre la música y la imagen, lo que genera el aire que se mueve en su trabajo. (¿Qué material o producto Cómo se utiliza entre las grietas, así como el pino abeto, para cerrarlas? Gracias
I'm sorry but I'm not sure if I understand your question. Inwardly in the bottom there is a piece that joins the two rings. Outwardly this guitar had no bracket. Lo siento pero no estoy seguro de entender bien tu pregunta. Interiormente, en la culata hay una pieza que une los dos aros. Exteriormente esta guitarra no tenía ninguna pieza de soporte.
@EarlLedden La guitarra sonaba realmente bien, de hecho actualmente construyo un modelo de guitarra romántica basado en la plantilla de Ortega. This Guitar sounds very well, now I make a Romantic Guitar model which it's based on the model of this guitar maker Ortega.
Hi Antonio, very good video! I am trying to restore a guitar that I don't know who was the maker, bat was of my friend granfather. Some piece of soundboard is missing for about 1 cm, and many craks are to be repaired. Will I use a wood like spruce or cedar in the internal side but which thickness do tou suggest?
Hola, eres un crack. Esta guitarra que has restaurado te quedó de exposición. Tengo una guitarra española Vicente Tatay del 1976 pero no se mucho de ella. Si te sirve de algo, en la pegatina que está en el interior, no pone el nombre Tomas después de Vicente Tatay. Gracias por anticipadao. Un saludo desde Galicia.
The video is brilliant and obviously the restoration process. But we all expect to hear how the guitar sound after the restoration, and that's missing from the video, it's a pity.
In that case I would be more in line with the second opinion, even if the soundboard required by their poor condition it could be somewhat thicker, but not greater than 2 mm.
I have just come across this wonderful video of your exemplary restoration of this beautiful old guitar. As a fellow instrument maker and sometime guitarist, I salute you! What is known about Ortega? Was he a disciple of Torres, whose smaller guitars this much resembles?
Thank you for your comments. I think it was not disciple of Torres, he was born in Granada and after went to live and had his workshop in Madrid. You can have more information about Rafael Ortega on the book Spanish Guitar Maker, wrote by Jose Luis Romanillos.
I'm sorry for the delay, I hadn't seen your comment. The original finish was shellac, some parts of these were removed on the restauration process, specially on the top and back, and I varnished with shellac on top of it. On the ribs almost all the varnish was conserved and it only needed a little review.
+Wayne Neylan They are library music for audiovisual, not available in shops or commercial channels. First song: Title: In Nature's Time Composed by: Robert Foster KPM Collection - CD n º 235 - "Classical Guitar and Strings" Second song: Title: Welcome In Composed by: Bob Foster KPM Collection - CD n º 204 - "Guitar Naturally"
Joseph Holes I'm sorry I got confused and I said guitarist of the Homenaje video, the music in this video is from Bob Foster.They are library music for audiovisual, not available in shops or commercial channels. First song: Title: In Nature's Time Composed by: Robert Foster KPM Collection - CD n º 235 - "Classical Guitar and Strings" Second song: Title: Welcome In Composed by: Bob Foster KPM Collection - CD n º 204 - "Guitar Naturally"
If the problem is to know what is the thickness of the soundboard, the better is to have an internal gauge thickness, you can find it in stewmac.com (Hacklinger Thickness Gauge). I hope this information helps you. Regards,
Yes of course. I am convinced that many good guitars have been lost due to the lack of tradition of restoration of guitars. Luckily this did not happen in all cases.
Soy bastante ordenado, pero trabajar, trabajo con las manos. No se si parece hecho por un ordenador pero te puedo asegurar que todo el trabajo está hecho con mis manos. Saludos !!!
Hi, how much do you charge for a repair like this? Beautiful. Did you have the body in a jig/frame when you glued the top and bottom back on? Thank you (:
5onCover Thanks for your comment. In these restorations you need to calculate for each case. This work was made a few years ago and the cost was about 2 thousand Euros. In this case it was necessary to build a jig and a mould (Solera) to keep the original shape and gluing the top and the bottom.
They are library music for audiovisual, not available in shops or commercial channels. First song: Title: In Nature's Time Composed by: Robert Foster KPM Collection - CD n º 235 - "Classical Guitar and Strings" Second song: Title: Welcome In Composed by: Bob Foster KPM Collection - CD n º 204 - "Guitar Naturally"
They are library music for audiovisual, not available in shops or commercial channels. First song: Title: In Nature's Time Composed by: Robert Foster KPM Collection - CD n º 235 - "Classical Guitar and Strings" Second song: Title: Welcome In Composed by: Bob Foster KPM Collection - CD n º 204 - "Guitar Naturally"
Amazing craftmanship.
Its so good that there are people like you who can fix those old guitars as they mean a lot in understanding the instruments aging.
When the wood gets this old it really sounds amazing.
Thank you for a great video.
a fantastic documentation, thank you.
That is awesome. I am an aspiring luthier and a current engineer. I really appreciate the time you took to produce the drawings also. I love being able to apply the hand skilled artistry to produce a fine instrument and use me engineering skills at the same time. Thank you very much for this presentation.
absolutely true.
To alter the instrument to what "you" think is better is not an option.
It would be like alter a Stradivarius violin because todays technique in violinbuilding should be better.
Maybe taking the back off and make a new in carbon fibre? Ehhhh NO
Its all about heritage and the knowledge to assemble a guitar doing as little as possible in fixing it like you did.
The woodwork shows you are a true master.
Thank you, people like you are needed, always.
The best restoration video I have seen and it is good to hear the sound of the Ortega guitar, I consider this video and your responses to be the best = mejor del mundo nada mas nada menos. Thank you. Neil Ostberg,Wisconsin,U.S.A.
Excellent restoration and a unique presentation!
Great video editing. Thank you for this nice restoration work.
Easier than I thought!
Seriously, great video.Wish we could hear how it sounds after restoration.
first class restoration and a cool video,,,thank you,,,
This video makes me want to cry. I love old guitars and you did a beautiful job restoring this one.
Thank you. It is nice to hear that. Although it´s a long time ago that I did this work, and I think I could do it even better today, I'm proud of it.
Francisco Herrero Gonzalez: Full course: Shellac
The lacquer is an easy to do, but slow, it takes time and a little practice. Before varnishing a guitar, furniture or other instrument, it would be interesting to experiment with a small or furniture just any table.
It may take three or four weeks. Upon completion you should spend a week to properly dry. This type of coating has advantages over other synthetic because in case of a tap can be restored again with a crankpin and some hairspray.
In addition, the most important thing is that being a very thin layer, does not remove the sound of the instrument. The layers of synthetic varnishes are much thicker and difficult repairs. Still good classical guitars and violins are varnished with this system. Shellac is a natural product produced by an insect called "coccus lacquer".
Necessary materials
Quantity
Description
3/4 liters Methyl alcohol - also called wood alcohol -.
200 grams shellac. (There are several types. Some come Dewaxed quality, are ideal for the soundboard to not darken the wood).
1 package of cotton or wadding to the crankpin.
Several pieces of old cotton or plush (sheets, used shirts)
1 jar Small liquid petroleum jelly.
½ liter of ethyl alcohol 96 °.
½ Dozen sanding wood (very fine grain)
100 grams White of Spain.
250 grams of pumice.
4 empty glass jars with tight-fitting lid jam.
4 empty plastic cans for dispensing the preparation of shellac.
1 small sable brush hair for use in areas where there is no crankpin.
Preparation processes
1. bottle ¾ liter of methyl alcohol added 1/3 volume bottle shellac introducing through a small funnel. If the bottle is full remove some alcohol. Leave about 12 hours to dissolve and move the bottle occasionally.
2. Prepare a little pumice pouring in a small handkerchief in the same fabric that we will use to make the crankpins. We closed with a rubber band or string and have it ready for use. It will serve to screen the pumice stone and apply it.
3. Make another equal to the target of Spain.
4. To make a crankpin a piece of cotton (about the size of a strawberry) is caught. Wrap it with a piece of cotton fabric or old plush. It is smooth and without folds. Secure it with a small rubber band. Make three crankpins. When not in use, enter them in the previously labeled so they do not dry airtight jars. If they get hard over time make new ones.
5. properly prepare the instrument leaving very smooth surface, using different abrasives falling grain to end sandpaper lowest point.
6. It should be operating in a ventilated place with low humidity. Ideally the humidity between 40 and 50%.
7. Label a glass jar to hold the pin that apply shellac.
8. Label another jar for another crankpin to extend pumice with alcohol.
9. Label another jar for another crankpin to extend the target of Spain.
5. properly prepare the instrument leaving very smooth surface, using different abrasives falling grain to end sandpaper lowest point.
6. It should be operating in a ventilated place with low humidity. Ideally the humidity between 40 and 50%.
7. Label a glass jar to hold the pin that apply shellac.
8. Label another jar for another crankpin to extend pumice with alcohol.
9. Label another jar for another crankpin to extend the target of Spain.
Varnishing processes
1. With warm water and wetting a crankpin or brush lend a hand to the entire instrument to come out all the dust and the pores open. After an hour or two. a very fine sandpaper moves the entire surface. According to that wood is'll see if we need to repeat the process.
2. If you are going to give dye wood, do so before the next step.
3. Give a hand of mineral oil with a crankpin. Let dry for 12 hours. Some luthiers used beaten egg to be used as primer rather than the petrolatum. If it flaxseed oil as a primer used should be borne in mind that darkens the wood.
4. After lightly pass a very fine sandpaper started to shellac to the soundboard in a circular motion over the entire surface. Every two or three passes, add a few drops of liquid paraffin to the wrist so that it slides well. Work for an hour in past and turning continuous. Let dry for 12 hours. Save the crankpins in bottles sealed glass to prevent drying.
5. Drop the bag of pumice on the surface of the lid to implement the pumice. Then with another crankpin + shellac keep rubbing in circles for the pores they are completely sealed. Wait for it to dry 12 hours. If spurts appear in the coating to dry and continue after 12 hours. If you do not get with the pin, sanding to level.
6. Every two or three coats of shellac, once dry, spend a sandpaper finer grain.
7. Always keep in mind. You never spend the pin twice in the same place until dry '
8. Pass the sanding lightly with one or two drops of liquid paraffin.
9. Sanding and continue giving hands shellac entire surface. They will go seeing results. Let dry for 12 hours. Never make two passes over the same spot. If not dry shellac, alcohol the back lift and also sticks to the crankpin. When it does not slide well crankpin add one or two drops of oil.
10. When a good finish is achieved, is passed to the final process.
Finishing processes and shine
1. Put in a dispenser some ethyl alcohol 96 °. (No longer shellac)
2. Put on the wood few specks of white of Spain in 2 or 3 places and a few drops of Vaseline.
3. Grease a new crankpin with ethyl alcohol and extend over the entire surface three components rubbing in circles and see how it will be taking a crystal shine. Let dry and repeat the process to get a good finish.
4. Finish with past in the direction of the strands of wood.
Traductor de Google para empresas:Google Translator ToolkitTraductor de sitios webGlobal Market Finder
Beautiful work, nice to see an old beauty that will sing again. Well done.
Buckshot and the Pepperbox Thank you very much. In this case the priority was that the guitar could be played again. In other cases, we have organological priority and we have to face the work in different ways.
It must be rewarding work, I really find it great, your work that is.
Thank you Robert, I'm happy that you like this work.
Congratulations for the excellent repairing craftsmanship and the inspirational presentation in the video!!!
Thank you very much, I'm glad you like it.
Thank you very much. I'm glad you like my work.
Good job! Congratulations!
+Carles Puig Thank you very much!
Excellent video, great job.
Thank you, Rogelio.
I am grateful for your comment. I think it's good to approach with respect to previous work done by old guitar makers.
No sabia que era pino.. me dejaste mas maravillado todavia.. exitos!
Very very good. Congratulations
+Alcirnei Oliveira Thank you very much!
Ok, tank you very much again, Antonio!
I will follow this approach.
Good bye.
Very nice work and great video... :)
Thank you Mick.
genius thats you genius keep on going you are an inspiration
great video!!
Magnifique travail! Mais qui a pu laisser une telle guitare se dégrader à ce point?
A wonderful guitar, i love the result and i love the songs to, it's a beautiful songs
Thank you Stephen for your opinion.
your work is art, congratulations.i'd like to listen Serenata Espanhola played on this guitar.
I would be really keen to get an in-depth demonstration of the techniques used.
Impressive!
Yes, we should spend more time for restoring our vintage guitars instead.
Yes sure, but sometimes it's difficult because the custumer can't spend a lot of money. But if it is possible it would be wonderful.
Thank you very much.
@Kanianitis Muchas gracias. Me alegro de que te guste mi trabajo. Thank you, I'm glad you like my work.
Thank you very much
We are waiting for your next excellent video and next time don't forget, we want to hear the end product. cheers.
@boddumblues Thank you very much. I'm glad you like my work.
Sería buenísimo poder escuchar el sonido de esta guitarra antigua, esa música de fondo con guitarras metálicas no lo puedo disfrutar para nada y tampoco puedo imaginar ninguna coherencia con el instrumento restaurado. Felicitaciones por la respetuosa restauración.
Thank you.
The lacquer finish did a lot. :)
sympa très instructif ! bravo
Thanks a lot.
They are library music for audiovisual, not available in shops or commercial channels. First song: Title: In Nature's Time Composed by: Robert Foster KPM Collection - CD n º 235 - "Classical Guitar and Strings"
Second song: Title: Welcome In Composed by: Bob Foster KPM Collection - CD n º 204 - "Guitar Naturally"
@paolayoscar
Hola, gracias por vuestro comentario.
Todas las piezas añadidas en la tapa armónica son de pino abeto con más de 15 años de antigüedad, y encoladas con cola caliente.
Thank you for your comment. I'm wondering what "d28" is.
Thanks for your opinion. I agree with you, it would have been better if we had had the recording of the sound of this guitar, I hope to do better next time. But when I began the reparation work, I was not thinking about making a video. A friend of mine made the video from some photos I had taken. I was amazed that he could make that with only a few photos.
very gooood!
Miuto obrigado.
Muchas gracias por tu comentario. Las piezas insertadas en la tapa son del mismo material que la tapa, de pino abeto viejo, con el tiempo la oxidación hará que el tono sea el mismo que la tapa original. Saludos.
Hermoso trabajo.. una consulta, no le pudiste dar color a la masilla de relleno con algún pigmento para que quede mas parecida al color de la tapa armónica?.. Saludos desde Paraguay..
Gracias por su comentario. Las piezas insertadas son de madera de abeto, no son masilla, y entre las opciones de teñir o esperar que la oxidación iguale el color de la madera al envejecer, yo escogí un camino intermedio dar un poco de color y esperar que el tiempo iguale el tono de las maderas.
@Poisonboy2die4
They are library music for audiovisual, not available in shops or commercial channels.
First song:
Title: In Nature's Time
Composed by: Robert Foster
KPM Collection - CD n º 235 - "Classical Guitar and Strings"
Second song:
Title: Welcome In
Composed by: Bob Foster
KPM Collection - CD n º 204 - "Guitar Naturally"
It's difficult to me to recomend something if I can not see the guitar. But I think it's better you use spruce than cedar because cedar it's in use a few time ago, and usually old makers made with spruce.
About thickness, I don't understand your question. If you need for the soundboard you have to do similar thickness at the other parts of the soundboard, but if you need for the fan bracing, it depends on whether situation is on the treble or on the basses, and thickness others fan bracings.
Miuti obrigado.
@RcUniverseGuy All parts added in the soundboard is german spruce with more than 15 years old, and glued with hot glue.
Thank you for your comment. It will be a pleasure for me if you send me some information about yours wood.
@RoblesHu Gracias por tu opinión. La guitarra está restaurada guardando el máximo respeto con el original, pero con la intención de que pueda ser tocada y así ha sido con un buen resultado, de hecho mi modelo de guitarra romántica 1900 está basado en esta plantilla y responde muy bien. Seguramente tienes razón con la música que debía acompañar al video, en este caso ha sido criterio solamente visual del montador del video, creo que funciona bien visualmente pero quizá mejor música de l
Felicidades maestro Manjón, hermoso trabajo realizado por el Sr.
Cada vez que lo veo me emociono con el contenido de la armonía entre la música y la imagen, lo que genera el aire que se mueve en su trabajo.
(¿Qué material o producto Cómo se utiliza entre las grietas, así como el pino abeto, para cerrarlas? Gracias
goste parabéns
I'm sorry but I'm not sure if I understand your question.
Inwardly in the bottom there is a piece that joins the two rings. Outwardly this guitar had no bracket.
Lo siento pero no estoy seguro de entender bien tu pregunta.
Interiormente, en la culata hay una pieza que une los dos aros. Exteriormente esta guitarra no tenía ninguna pieza de soporte.
@EarlLedden La guitarra sonaba realmente bien, de hecho actualmente construyo un modelo de guitarra romántica basado en la plantilla de Ortega.
This Guitar sounds very well, now I make a Romantic Guitar model which it's based on the model of this guitar maker Ortega.
awesome vid ....wish you could work on my d28...
Hi Antonio, very good video! I am trying to restore a guitar that I don't know who was the maker, bat was of my friend granfather. Some piece of soundboard is missing for about 1 cm, and many craks are to be repaired. Will I use a wood like spruce or cedar in the internal side but which thickness do tou suggest?
A little far for me, but I'm sure you'll find who can do that job well. Thank you again.
What was the cost of this restoration? Thanks Mate!
Hola, eres un crack. Esta guitarra que has restaurado te quedó de exposición.
Tengo una guitarra española Vicente Tatay del 1976 pero no se mucho de ella. Si te sirve de algo, en la pegatina que está en el interior, no pone el nombre Tomas después de Vicente Tatay. Gracias por anticipadao.
Un saludo desde Galicia.
The video is brilliant and obviously the restoration process. But we all expect to hear how the guitar sound after the restoration, and that's missing from the video, it's a pity.
The customer was very satisfied with the sound. I also liked it, in fact, I have made my own model of a romantic guitar from this template.
In that case I would be more in line with the second opinion, even if the soundboard required by their poor condition it could be somewhat thicker, but not greater than 2 mm.
I have just come across this wonderful video of your exemplary restoration of this beautiful old guitar. As a fellow instrument maker and sometime guitarist, I salute you!
What is known about Ortega? Was he a disciple of Torres, whose smaller guitars this much resembles?
Thank you for your comments. I think it was not disciple of Torres, he was born in Granada and after went to live and had his workshop in Madrid. You can have more information about Rafael Ortega on the book Spanish Guitar Maker, wrote by Jose Luis Romanillos.
Can anyone tell me the name of the last song?
great video. how much of original finish was left on guitar, or was it taken back to wood? was is shellac?
I'm sorry for the delay, I hadn't seen your comment. The original finish was shellac, some parts of these were removed on the restauration process, specially on the top and back, and I varnished with shellac on top of it. On the ribs almost all the varnish was conserved and it only needed a little review.
Good
Almo Thank you.
What were those diamond shaped pieces at 2:36???
These pieces are that way because in the original union of the back is reinforced with pieces of the same shape.
Whats this song playing at the intro please tell ?
+Wayne Neylan They are library music for audiovisual, not available in shops or commercial channels. First song: Title: In Nature's Time Composed by: Robert Foster KPM Collection - CD n º 235 - "Classical Guitar and Strings" Second song: Title: Welcome In Composed by: Bob Foster KPM Collection - CD n º 204 - "Guitar Naturally"
Sure, but before also had to do some work.
Who is the artist playing guitar?? I love this!
The guitar player is Vicenç Mayol López, he is a great concertist and a very nice teacher also.
Joseph Holes I'm sorry I got confused and I said guitarist of the Homenaje video, the music in this video is from Bob Foster.They are library music for audiovisual, not available in shops or commercial channels. First song: Title: In Nature's Time Composed by: Robert Foster KPM Collection - CD n º 235 - "Classical Guitar and Strings" Second song: Title: Welcome In Composed by: Bob Foster KPM Collection - CD n º 204 - "Guitar Naturally"
the name of the song please?
how does it sound?
The customer was very satisfied with the sound. I also liked it, in fact, I have made my own model of a romantic guitar from this template.
If the problem is to know what is the thickness of the soundboard, the better is to have an internal gauge thickness, you can find it in stewmac.com (Hacklinger Thickness Gauge).
I hope this information helps you.
Regards,
I know now that it is impossible, or nearly so, to make splint repair invisible or nearly so.
How many people would have thrown such a damaged guitar into the bin... without knowing its a collectors item..
Yes of course. I am convinced that many good guitars have been lost due
to the lack of tradition of restoration of guitars. Luckily this did not happen
in all cases.
Restauración pare es de ordenador
Soy bastante ordenado, pero trabajar, trabajo con las manos. No se si parece hecho por un ordenador pero te puedo asegurar que todo el trabajo está hecho con mis manos. Saludos !!!
Hi, how much do you charge for a repair like this? Beautiful. Did you have the body in a jig/frame when you glued the top and bottom back on? Thank you (:
5onCover
Thanks for your comment. In these restorations you need to calculate for each case. This work was made a few years ago and the cost was about 2 thousand Euros. In this case it was necessary to build a jig and a mould (Solera) to keep the original shape and gluing the top and the bottom.
sorry,,,Martin D 28
Manjon, Do you yourself build in this style of spruce/cypress classical/flamenco?
Yes I make both classical and flamenco guitars of spruce and cypress.
Thank you very much.
They are library music for audiovisual, not available in shops or commercial channels. First song: Title: In Nature's Time Composed by: Robert Foster KPM Collection - CD n º 235 - "Classical Guitar and Strings"
Second song: Title: Welcome In Composed by: Bob Foster KPM Collection - CD n º 204 - "Guitar Naturally"
They are library music for audiovisual, not available in shops or commercial channels. First song: Title: In Nature's Time Composed by: Robert Foster KPM Collection - CD n º 235 - "Classical Guitar and Strings"
Second song: Title: Welcome In Composed by: Bob Foster KPM Collection - CD n º 204 - "Guitar Naturally"