베르나베 기타가 어쩌고 저쩌고... 흠냐뤼.. 무식해서..
헐... 베르나베 홈에서 훔쳐옴.... 베르나베 홈피 있는거 모르셨져??? ^^
관련 링크는 아래로 가셔서 기타와현(Guitar and Strings)관련 페이지를 참조...
http://www.classicguitar.org/
클릭수좀 올려주 -ㅇ-;;;
Inteview By Norbert Kraft, published in the French magazine "Les Cahiers de La Guitare" January 2.000
In the Madrid workshop of Paulino Bernabe, I gaze curiously at some pieces of highly figured Brazilian rosewood hung on the wall from spring clamps. Skilfully suspending them between 2 fingers at a precisely chosen point, Bernabe taps and listens intently to the "character" of the three different backs of future guitars. He points to each in turn and says, "this one is better in the basses, that one in the trebles, and the third, right in the middle. Each one will be a great guitar, an "Imperial Model" - the best that Bernabe makes, but each will have slightly different characteristics. Bernabe will go through the same critical process with soundboards, and all of the other parts of the guitars, including bridges, struts, and necks, to create a perfect partnership of vibrating components. "Wood is an organic material", he explains. "No two pieces, even from the same tree, are exactly the same. They are like people; each one, even from the same family, has an individual personality". It is when Bernabe brings his lifetime of experience, near50 years, to bear on his art, that the magic of sound from wood is created.
Born in Madrid in 1932, Paulino Bernabe, at age 14, began to work in a fine furniture factory, where he developed his delicate and precise woodworking skills. He also played the guitar, and for several years took lessons with Daniel Fortea, the renowned teacher and former student of Francisco Tarrega. It was the merging of these two skills that kindled his interest in guitar building, and in 1954 Bernabe entered the workshop of José Ramirez. "Guitar making was a very crude industry in those years," says Bernabe of his early years at Ramirez. "There was dust everywhere, and the workers cared little about their product." It was at this time that Bernabe brought his highly developed craftsmanship, and used his knowledge of efficient production practises to help establish the famed workshop associated with the "golden age of Ramirez" in the 1960's. "Ramirez had a great business sense, and for the first time was able to offer beautifully made, concert level guitars in sufficient numbers to satisfy a growing global market. For the first time ever, quantity and quality."
In 1969, feeling that guitar making at Ramirez was becoming too mechanized, Bernabe left to establish his own workshop in central Madrid, near the Plaza Mayor. "My objective was to create guitars with more power and projection, suitable for large concert halls, while still maintaining the other characteristics of a superlative musical instrument - balance, sustain, refinement, and beauty of sound."
Bernabe's instruments of the 1970's were made with a somewhat radical "minimalistic" interior bracing, relying more on the tonal properties of exceptional tone woods for their sound than on reproducing a traditional design formula. He began a series of 'experiments' which continue to this day, in which he explores the effects of different wood species such as maple, pear, sandalwood, and others, as well continual modifications to the bracing. When I asked about the variety of bracing patterns in use by leading luthiers today, Paulino replied, "We start with fantastic wood, and very old. Some of our woods have been aged nearly 100 years. You cannot make a great guitar without great wood; only then can we start to consider the design."
In the late 1970's, Bernabe's son, also named Paulino, began to work with his father. Together, they incorporated many changes into their instruments, already renowned for their power and clarity. In the mid-80's, in order to make the guitars easier to play, they reduced the string length to 65 cm., and began to use french polished shellac for the finish, to help open the sound. "Players want a guitar with 'everything'", says young Paulino, "volume, clarity, warmth, sustain, colour, playability.…many don't understand that it's a system of compromises, and that the best instruments have a good balance of all these qualities." His father adds, "There has not yet a guitar equivalent to a Stradivarius violin; I hope it will be produced in my lifetime. Anyway, I will keep working toward that goal".
Today, father and son work side by side in an expanded workshop on the north edge of Madrid, where they both contribute to the creation of each instrument. "My father still has final say in wood selection and matching. His experience and sensitivity to the properties of the wood are unequalled, " Paulino concedes. "But we are both equally fluent in all stages of construction, and often have lengthy and 'lively' discussions on how to proceed". He shows me a sample of a new varnish formula that he is very excited about, containing special resins and other ingredients to improve the sound of the finished guitar. "
For many years, we had employed an assistant to do some of the 'rough' work, such as laminating necks and preparing parts for fine fitting by us. A few years ago, he passed away, leaving us wondering how we would manage to keep up with our orders, but we discovered that, as we began to do all of the work by ourselves, the construction was actually smoother, quicker, and more problem free, because of increased care and precision at each stage".
Watching the Bernabes at work, each at his own bench, they seem to work in perfect harmony. I marvel at the grace and deft skill of the hands of father Paulino, whose every stroke of the chisel is guided by the sound image in his ear. Young Paulino, quicker by nature, reminds me of a painter who, with very rapid but precise brush strokes, almost instantly transforms his canvas into a masterwork.
"The two of us work together in a relaxed, calm atmosphere, We take the time to try new things, and we often keep a guitar to observe its development and special qualities." Over the years, the Bernabes have amassed a substantial collection of instruments favourite examples of their own work, as well as antiques and other 20th century guitars. With this as a constant reference, together with advice from players and concert artists such as Narciso Yepes, who played Bernabe guitars since 1972, they continue to refine, develop, and improve 'their sound'.
My attention is drawn to an intricate and perfectly executed mitre joint in the purfling at the heel of a new guitar. I tell Paulino that I have rarely seen such cleanliness and perfect workmanship both inside and out. "Players love to have physical beauty and perfection in an instrument, but ultimately many feel this is just cosmetics. In our view, the precision of all aspects of construction, both interior and exterior, is critical to the sound of the instrument, its development and longevity. It not only a symbol of our care and loving workmanship, but results in a consistency upon which we can base our further development.
As I say my goodbyes to 'Paulino y Paulino', amid many abrazos and promises of return, I wonder if one of those pieces of rosewood we were tapping, will soon produce the 'Stradivarius' that Paulino 'padre' has so long had in his dreams.
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[re] 구로사와.............고악기
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미야모도 김빠지........현악기제작자의 기타.(1937년작)
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[re] 헤드
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[re] 헤드정면
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[re] 앞판
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[re] 넥과 옆판
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[re] 뒤판
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12홀 브릿지 줄 매는 법(알마기타 펌)
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12홀 브릿지에 유감 있음 (-_-)
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audioguy님 이렇게 해보셔여~~^^
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audioguy님 이렇게 해보셔여~~^^ 2
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황동 하현주
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다다리오 현 사용하시는 분들에게 질문드려요
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하까란다가 꽃피었네여.
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French Polishing - 쉘락칠
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기타현 가격표.
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기타 제작에 관하여
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기타줄 소리에 대한 단상
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소르와 아구아도???
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으하하하 기타 새로 샀는데요 정말 좋아미치겠어요
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기타에서
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Greg Byers와 Paul Jacobson의 정확한 조율을 위한 해결책
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기타줄 비교
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라이징보드 사용 소감을 듣고싶습니다..
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제도로 프렛 계산해내기...
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최고의 튜닝머신들..
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기타 제작에서 가장 어려운 일은 무엇인가요?
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뭘까요..^^ 제기타 헤드
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[re] 뭘까요..^^ 제기타 로제트 지판
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[re] 뭘까요..^^ 제기타 뒷판
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[질문] 음량증가를 위한 증폭장치
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엇..옥용수님 기타만들기입문 .....다시올려주세요.(영문번역도있었는데)
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기타플랜 구하는 곳
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스페인 기타 제작 마스터 클래스 문의드려요
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바로크기타 만들기 입문 [일본어]
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류트만들기 입문 [일본어]
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기타케이스 만들기 [일본어]
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거트현 만드는 과정 [일본어]
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다양한 기타 & 망가진 부위에 따른 수선과정. [일본어]
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기타의 음량증가를 위한 증폭장치...........데스데리님의 글을 퍼왔습니다.
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하까란다 이야기...
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가까이서본 하까란다..
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조앙과 함께 비교한 4대의 기타..
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기타가 다른악기에 비하여 비싸다는......
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두랄루민 보강넥에 대해
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[알림] 프렛계산 페이지
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[re] [알림] 프렛계산 페이지
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[질문]외국 나갈때 기타 가지고 가는 법.
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기타프렛에 관해 여쭙겠사옵니다.
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상현주와 하현주의 재질.....
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입이 큰 기타
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기타매냐를 들르는 모든 사람들에게..
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스몰맨으로 연주된 음악
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투넥기타...^^;
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(현장길이, 장력, 왼손)과 이에 따른 오른손의 견해
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브라만 15번 조각사진 모음~~
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혁님의 악기 ----브라만 15번 -
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-- 몸통 자세히
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-- 로제트
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-- 라벨 --
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-- 브릿지~
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-- 헤드에요~
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-- 암레스트래요~
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-- 어쿠스틱포트 1
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-- 어쿠스틱포트 2 / 라이징 보드
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-- 뒷판 하까란다~
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-- 뒷판 굽(heel)부분
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모양은 이쁜데 소리도 이쁠지 궁금하네요.
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기타보관 시 적정온도는 어떻게 되나요?
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기타조율에 대한 여러분의 경험과 의견을 듣고 싶어요 ^.^
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[re] 기타조율에 대한 여러분의 경험과 의견을 듣고 싶어요 ^.^
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기타줄의 장력...무게 입니다..
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친구네 집에서 업어온 기타
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[re] 친구네 집에서 업어온 기타
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[re] 친구네 집에서 업어온 기타
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[re] 친구네 집에서 업어온 기타
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[re] 친구네 집에서 업어온 기타
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[re] 친구네 집에서 업어온 기타2
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기타의 진한 향..어디서나는걸가요?
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7현 기타~
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제 기타 사진이네요. 제작자를 맞추어 BoA요~
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[re] 제 기타 사진이네요. 제작자를 맞추어 BoA요~
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[re] 제 기타 사진이네요. 제작자를 맞추어 BoA요~
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[re] 제 기타 사진이네요. 제작자를 맞추어 BoA요~
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[re] 제 기타 사진이네요. 제작자를 맞추어 BoA요~
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[re] 제 기타 사진이네요. 제작자를 맞추어 BoA요~
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저의 기타 사진입니다. Brahmam 2003년 (넘버10번 , 624mm)
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[re] 저의 기타 사진입니다. Brahmam 2003년 (넘버10, 624mm)
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[re] 저의 기타 사진입니다. Brahmam 2003년 (넘버10, 624mm)
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[re] 저의 기타 사진입니다. Brahmam 2003년 (넘버10, 624mm)
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[re] 저의 기타 사진입니다. Brahmam 2003년 (넘버10, 624mm)
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[re] 저의 기타 사진입니다. Brahmam 2003년 (넘버10, 624mm)
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저의 기타 사진입니다. Corbellari 1997년 현장 640mm
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[re] 저의 기타 사진입니다. Corbellari 1997년 현장 640mm
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630mm 기타에 관한 이야기(번역)
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서대영님 공방에서 기타를 하나 들고와서...
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손에 맞는 기타
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합주에 필요한 기타현정보가 많은 리여석기타합주단홈페이지.
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orpharion 사진입니다.
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줄의 장력이 세게 느껴져요!!
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