120 Years Old Guitar Restoration - (I) - Anjuda Guitars Nº12
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- เผยแพร่เมื่อ 8 ก.ย. 2024
- This Miguel and Batolomé Casasnovas from 1901 needs deep restoration, all over it needs to be cared. For me this is a dream came true. I hope you would like to join me in this series!
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Thank you!
I'm enjoying this restoration. Potassium-permangamate will oxidize the area of wood that has not changed by years of sun. I am glad you are not defeated by the scale of the job. For me, it looks like a flamenco design with the peg head. If it were mine, I would be putting a golpeador on it to stop further damage.
I agree that golpe is the most likely cause of the damage.
This man is the best and most interesting luthier who I have ever seen. I am proud to call him my teacher.
0mo
So lovely to see a slow working progress. Thank You.
Your skilled gift is a joy
This was s very touching look at this beautiful piece of craftsmanship a rare look at the Luther of previous generations. I watch a few different gentlemen that are Luther's in you tube a younger man an older man and now I find you, I have watched the other 2 guys say at least between them s hundred time about. What I love about this craft, is the passion of their craft to maintain the original perspective of its creator its fascinating the older gentlemen doesn't really work on today's modern mass produced guitars or other instruments he is Italian and works 9n violins bsngos and guitars. The younger guy works on what ever he can to get steady work he is out if Canads very passionate guys doing there best to be the professional it takes to be called Luther. I see by watching your video I will be looking at past works and keeping up with this very elegant lady of the parlor classical guitara. The age of truly refined players with the love of all that is beautiful and elegant properly held upright in all their struggle of years of discipline of practice and study. I to play and at 36 started taking lessons from a local well known music store owner of Italisn descent he wS a jazz guy with lots if NY jazz scene musician as friend. We would meet before my lesson at the coffee shop for some old fashioned expresso prior to my lesson have some laughs just enjoy life while we shared stories together, I absolutely loved this man like my own father. He had a young Juliard Graduate from NY that he suggested I get acquainted with and see if I thought his energy would be the necessary next step of my training the older guy knew he was gonna pass I realized later he was giving me time to adjust amazing love from such a kind individual who helped so many people, yes the young man took me to knew heights he shaped my own understanding that I already had my own style I have played fir many years thrn pit it down to have a business career and once my business allowed some free time took it back up with these gentlemen. My wife unfortunately resented that I chose this age 8s s professor at s University her chosen path that I encouraged what ever she wanted now making more money then her several times over I decided I wanted to live again enjoying life without the worship of materialism being the focus this was her realm. The sad outcome of the life style I desired conflicted with hers even though she could now afford anything her heart desired that wasn't the issue I took back by balls it was control she demanded and now y own awareness of consciousness had broken free of the ego based material world she desired the unfortunate departure and fill freedom of control was a necessary growth, wish she grew with me but it was not to be. She was a lezbian I found our I was not a female that's solved the problem for me rather be alone then live in a lie or deception upon my soul. I have struggled to find that place I once was within myself of a full harmonious relationship with my self and guitar that was about 23 years ago I recently bought a 1967 Guild acoustic guitar, I was at GC sitting there ready to purchase a Martin D45 had the money and finally gonne do this dream of my life. There sat this used Guild guitar. The manager had been my contact there he had sat with me several times peitiently while I often talked myself out of this purchased it was just so expensive. This time I sayvti myself if I scratch that Martin just once I willful shame and guilt 3vety time I pick it up knowing myself this to be true. That beat up scratched up Guild I played it, it wasn't as bright as the Martin it was mellow in a sweet well loved instrument way that someone loved s very long time 1 ownerguitar, I felt they had passed awayand wantedsomeone'sto lovethis old girl again in a good home. You know that guitar is the first thing I grab when I decide I'm gonna try and play every day again I got my usual songs that reach in and grab your heart and squeeze just to let you know how alive you are. That's my baby I would like to have s Luther take a look at her, see if maybe some braces have popped loose and see what can be done with the top ot had some cracking ai live 8n San Diego CA and wantvto move to Colorado were I am from originally humidity is a concern but CA it is a changing often but mostly dry. Colorado is a higher elevation and has its seasonal changes and dontbknowwat to realy do to maintain this guitar conciderigthr coststvarato on humidity I spent a fair amount on this beauty, that's not my main concern it's maintaining this as I am only care taker of this instrument it may have been mass produced that I am not sure of, either way its the instrument in my care to me. That is what matters. Thsnks for listening I will subscribe now.
Thanks for wrinting Doug! I just try to do my best every single day.
Thank you for taking the time to tell your story. I hope you and your Guild got to Colorado!
can't wait to see part 2
It's on it's way. Editing right now!
I don't see any problem with removing varnish, if the guitar needs restoration and the soundboard needs addressing. Tou have taken the right path. Guitar is a musical instrument originally designed and intended for playing. Not really a museum artifact. I think some people should understand that. I see so many restorers doing minimum work, cause they are afraid to transgress certain taboos... at the end of the day, perhaps the customer after being informed what and how to be done, what needs to be done and what changes will need to be done has a say in what will happen. emoving varnish, repair scratches, cracks and flatten it up should be bare minimum - with that, after reaplying some shellac, the antique look will be preserved anyway.
For scraping off varnish I make the blade edge very square rather than sharp . Stand the blade vertical on the diamond plate and get two square edges. It will not remove any wood . I had lots of practice with this as our old house floors were painted black .None of the old paint under the surface would dissolve with paint stripper .
La mancha rara a lo mejor fue un intento de rebarnizado fallido que se abandonó... es la impresión que me da... pero es tan raro que no ceda con ningún producto... super interesante el video!!! casi se puede oler la guitarra!!!!!
Ni idea, la verdad, sólo se vio en toda su gloria al empezar a limpiar la tapa. En cualquier caso, ya no está!
Eres más grande que las pesetas ❤❤❤
Yo seré grande, pero tú eres LEYENDA!
Good video
Curradísimo el video, con ganas de la segunda parte!!
Gracias José, tardará un poco, pero vendrá y será más interesante que este. Ya verás!
wonderful
Tremendo trabajo!!!
Gotta see how this one turns out. Your attention to detail is quite impressive. Good luck 🍀
Thanks Kenneth! I need it!
This was very interesting and moving for me to watch. In gratitude for your artistry ive subscribed to your channel
A note about CA glue - it is true it can be removed from the surfaces, but the problem is when it's thin and it soaks into the fibers of wood, that's no bueno. It will stay there and depending on how much of the wood is affected, will alter the resonance, especially if the soundboard is concerned, really this should be prevented. (I don't know if there is some way of dealing with this, if there are ways of presurized application of solvent to disolve and clean it even from very small cavities such as wood grains - if yes, that could be a valuable thing to do) Longer time ago, when I was gathering some initial information how to proceed with a restoiiration, I contacted one local restorer, in hopes to consult how would he humself proceed. You won't believe what was his advice. CA glue!!! - Unfortunately at that time I was probably not in the right mind and I listened to this advice and applied CA glue on few spots. Thank God almighty, it wasn't done on the soundboard, but sides and back. *sides and back are not as crucial in sound production as the soundboard, but still... the damage had been done. Just later when I disclosed with some professional luthiers and restorers I was torn to pieces by some of them for doing such a terrible crime against the antique guitar.. I fully deserved it. The one mitigating circumstance is the guitar was mine and I intended to keep it for playing. Regardless, it was a very unfortunate misunderstanding from my side. The restorer who gave me the advice was not a real experienced restorer and certainly had no idea about restoration code and how antique instruments should be treated. He mostly restored low end acoustic guitars and electric guitars. Kinda understand where he was coming from, but I don't understand how he omited to take notice of my saying it was a high end vintage guitar. Little did I know about certain irreversibility of this recommended approach. After many years though, I can say that while still using this guitar on daily basis for playing, none of the cracks (repaired with hide glue) succumbed neither to humidity changes nor physical forces or resonance. I live in the UK and we have naturally high humidity, but I gotta say the guitar loves dryness of air and higher temperature, it opens up beautifully and sounds really much alive then and hates humid or cold environment, soundwise.
Maybe we should change guitars! This one here likes high humidity. Sorry to hear your story!
@@AnjudaGuitars this one is Jose Lopez Bellido, Granada flamenco blanca, '70ties. Though I'm not intending to part with it, maybe in future when all necessary repairs will have been done I'll consider selling it - with all its provenance *that is known to me and all information about changes that had been done). - with the amount of my own interference, I myself am extremely surprised how well the sopund turned out to be. The guitar is feather-light. Incredibly light-weigth. Potentially fragile, back and sides have between 1-2mm thickness. I can no longer say it is Bellido anymore, since I gave it new fingerboard, frets, new bridge and saddle. I experimented with ebony for saddle and nut - and I've been using the guitar for last 8 or 9 years with ebony on. Just recently changed saddle for bone. it's different again, but can't decide between them. ebony saddleand nut sounds a bit more timbric, gives a little more sustain, but not quite as much that it would interfere with the blanca's original purpose. (blancas are designed with shortest possible sustain in mind) I decided if I ever try selling the instrument, it will be completely transparent, with all my - what could be seen as - transgressions against certain uptight rules of restorers. I have taken some liberties.. I admit, but my purpose was to bring it back to life, not put her into museum or something.
Superb work
Thank you!
the spot you said you didn;t know what was looks and is located precisely where golpe damage often occurs on guitars without golpeadores. Probably been used by flamencos.
Agreed.
Nice!
0:45 ¿Qué clase de clavijero es ese? Excelente video, felicitaciones.
Interesante video!!! en especial me gusto la musica de fondo. Saludos!!
Gracias Balf! Si, la verdad es que la música la encontré por casualidad y le viene estupendamente.
Got my sub and respect!!!
Thank you Jonathan! Check out part II!
I have been gifted an old Soviet guitar and I don't quite know what to do, it also has a fixed crack but the glue is way too much and I don't wanna remove the old varnish
Hi Tom! Would like to write me to info@anjudaguitars.com? There we can have a discussion about it. I'd like to see that beauty!
Wow! Very impressive. But I'm surprised you used a scalpel for scraping rather than a proper flat wood scraper like a Bahco or similar or a card scraper.
I just wanted to do it as slow as possible, making sure that no more wood than needed was removed. Thanks for jump in here Gary!
@@AnjudaGuitars No worries.
Next video please!!! ❣️
Thanks for watching, Nourdine. Second part is on it's way!
@@AnjudaGuitars ❣️
Nourdine! Had you check part II?
Una pregunta- en que porcentaje de humedad fue guardada la guitarra para resaurar el nivel de su humedad como dice por 6 meses? Porque yo a veces veo o compro guitarras usadas que sufren tambien de sebre-seco por ser mal guardadas. Gracias!
Hola Vlad!. Debería estar entre 40 y 60%, si la guitarra está muy seca, iría al 60%, pero no más. Con tiempo la guitarra cogerá forma.
Please ,the Last part
Hey! Is in it´s way, it´s being harder than I thought. Altough... next is not going to be the last one, I´m afraid.
you should have left that 5:55 splat of color there. scraping the wood is really a BAD move which only damages the guitar
:)
Where is part 2?
On it´s way! I start recording next week. Thanks for whatching!
what woods are those?
spruce top? sides? back? neck, fretboard, saddle? ...
Qué pesaos con el inglés. Paso.