2000.12.05 19:47
베르나베 기타가 어쩌고 저쩌고... 흠냐뤼.. 무식해서..
(*.232.87.38) 조회 수 5159 댓글 0
제목보면 알겠지만... 노버트 크라프트가 베르나베 기타 어쩌고 저쩌고.. 한거...
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.
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.
-
어떤 기타가 잘 만든 기타인가요?
Date2020.05.01 By금모래 Views4785 -
앞판을 교체하는 작업
Date2020.04.17 By수 Views4114 -
기타의 가격은 어떻게 산정될까요?
Date2020.03.15 By빌라바보스 Views4904 -
기타줄과 관련된 질문이 있습니다.
Date2020.03.08 Bypersecutaa Views4196 -
Koh Jeongseock No.25
Date2019.11.20 By고정석 Views5132 -
whammy bar acoustic guitar
Date2019.11.08 Bypersecutaa Views3840 -
Bashkin OM Guitar
Date2018.12.30 Bysanuri Views4262 -
이기타에 대해 아시는분 있나요?
Date2018.11.28 By준오 Views5711 -
Making a Guitar | Handcrafted Woodworking | Où se trouve: Greenfield Guitars
Date2018.11.22 By수 Views4346 -
Documental de la construcción artesanal de las guitarras Francisco Bros.
Date2018.11.22 By수 Views4739 -
넥 휨 볼때,
Date2018.11.12 By넥휨이.. Views5536 -
Koh Jeongseock No.18
Date2018.11.03 By고정석 Views4616 -
기타 구입 조언부탁드려요..
Date2018.10.31 By석럽 Views5045 -
강화도 수님 공방 기타제작.
Date2018.10.12 By떠버기 Views5275 -
Koh Jeongseock No.17
Date2018.09.08 By고정석 Views4665 -
현대기타 디자인
Date2018.09.06 By수 Views6245 -
기타, 그 모든 것
Date2018.02.20 By최동수 기타 Views6742 -
최동수 작 비웰라형 기타
Date2017.10.16 By최동수 기타 Views7799 -
5 Famous Torres Guitars
Date2017.08.23 By고정석 Views8511 -
Torres guitar
Date2017.08.23 By고정석 Views7045 -
Torres FE-17 copy guitar trilogy by Michael Thames
Date2017.08.15 By고정석 Views5792 -
Daniel Friederich, Luthier - 5 Minute Trailer
Date2017.08.15 By고정석 Views5728 -
최동수 제작가님 최근 제작기!
Date2017.08.14 By기타바이러스 Views5864 -
그라나다 기타제작
Date2017.08.02 By수 Views5282 -
공지......기타이야기 게시판은요
Date2017.08.02 By수 Views5748 -
쉘락 휘니시... french polish of shellac
Date2017.08.02 By수 Views5115 -
눈메 메꾸기..에폭시
Date2017.08.02 By수 Views5130 -
Smaro Gregoriadou and her Guitar
Date2017.07.18 Bygaspar Views7054 -
nut position
Date2017.07.05 By수 Views6784 -
와그너와의 대담.
Date2017.04.20 By수 Views4821 -
손톱
Date2017.03.24 By줄떨어진기타 Views6969 -
case bam
Date2016.12.24 By수 Views7097 -
꿈은 이루어진다.
Date2016.12.10 By기타바이러스 Views6299 -
최동수 제작가님 최근 작품!
Date2016.12.08 By기타바이러스 Views6743 -
기타평가의 기준. ... 프리드리히.
Date2016.08.08 By수 Views6939 -
리라 기타에 대하여
Date2016.07.02 By최동수 기타 Views7047 -
세고비아의 라미레즈
Date2016.06.25 Byganesha Views7598 -
Herman Hauser 1세
Date2016.06.25 Byganesha Views6077 -
최동수선생님 4번째 리라기타 제작기
Date2016.06.24 By기타바이러스 Views6564 -
Pablo Villegas 의 기타
Date2016.06.24 By해송 Views6697 -
Koh Jeongseock No. 7
Date2016.06.16 By고정석 Views7096 -
목재정보
Date2016.05.30 By수 Views5891 -
쌍둥이 리라 기타
Date2016.05.11 By최동수 기타 Views6686 -
그라나다 기타계보
Date2016.05.09 By수 Views7091 -
최동수선생님 류트 기타 제작기!
Date2016.05.02 By기타바이러스 Views7865 -
화성학과 애드립을 위한 교재!
Date2016.04.02 Bymg7732 Views6468 -
Alma guitar 김희홍 KBS 문화현장
Date2016.02.19 By시골농부 Views7843 -
Andrea Tacchi 기타제작 동영상
Date2015.12.11 By콩쥐 Views6983 -
Koh Jeongseock No. 6
Date2015.12.06 By고정석 Views8134 -
통기타 리뷰 진짜 제대로 해주네요
Date2015.11.26 By흙바람 Views6878 -
기타현에 대한 글
Date2015.11.23 By콩쥐 Views6783 -
Build a Guitar 비디오
Date2015.09.29 By콩쥐 Views6235 -
최동수선생님 최근 제작 악기 소개
Date2015.08.08 By기타바이러스 Views9743 -
Regis Bonilha - Luthier
Date2015.08.04 By콩쥐 Views6341 -
마사키 사쿠라이 다큐멘터리
Date2015.08.03 By콩쥐 Views6425 -
마누엘 벨라스케즈 다큐멘터리
Date2015.08.03 By콩쥐 Views6653 -
류트 공방에서의 영상
Date2015.08.03 By콩쥐 Views5744 -
플라멩꼬 기타 제작
Date2015.08.03 By콩쥐 Views6048 -
granada school
Date2015.08.03 By수 Views5967 -
부산국제악기제작가페스티벌 PT 동영상 자료
Date2015.06.02 By정천식 Views7372 -
스피커 기타
Date2015.03.11 By최동수 기타 Views8354 -
기타 구경하세요 -2
Date2014.07.03 By최동수 Views11493 -
기타 구경하세요-1
Date2014.07.03 By최동수 Views10801 -
로만일료스 동영상
Date2014.07.03 By콩쥐 Views8265 -
하카란다
Date2014.06.03 By언니 Views12547 -
고딘VS야마하사일런트 비교 영상 링크~
Date2014.01.20 By김마적 Views9899 -
1962 Classical guitar by Robert Bouchet_Brompton's 경매회사
Date2013.10.19 Byguitarguitar Views10576 -
라미레즈 기타에 대하여
Date2013.09.13 By최동수 Views20655 -
특이한 디자인 기타 (최동수선생님 봐주세요 ㅎ)
Date2013.08.25 By프렛 Views18428 -
최동수님 2013년 9월에 완성될기타 훔쳐보기....
Date2013.08.24 By기타바이러스 Views15777 -
Razon 프렛 계산방식
Date2013.08.23 By콩쥐 Views11324 -
기타현의 장력 비교.
Date2013.08.22 By언니 Views12077 -
Resonances.......fritz mueller
Date2013.07.31 By콩쥐 Views9656 -
기타 명기(名器)와 명장(名匠)들 2권
Date2013.06.07 Byprophet Views12040 -
<나의 음악 이야기>-페이스북 연재-섬소년
Date2013.06.07 By섬소년 Views9055 -
기타 전문잡지 오르페오 창간호
Date2013.05.30 By오리베 Views10559 -
라미레즈-통념과 사실
Date2013.05.24 By리브라 Views10603 -
리사이틀 박스
Date2013.02.05 By리브라 Views11333 -
태평양 건너온 귀한물건 입니다.
Date2013.01.09 By프리덤 Views14163 -
최동수선생님 악기 탐방!
Date2012.12.11 By이호성 Views14314 -
슈퍼칩(string tie)
Date2012.11.29 Bygitarre Views15899 -
대전 국제기타페스티벌 기타전시회 관람기
Date2012.10.15 By스테레오 Views11047 -
스페인 제작자
Date2012.10.01 By수 Views17866 -
재미있는 기타 입니다....
Date2012.09.16 By대건안드레아 Views14609 -
에르고 플레이 고무압착기 오래 쓰는 방법
Date2012.09.03 By피날레 Views11582 -
황칠
Date2012.07.05 By수 Views14308 -
최동수 선생님이 만드신 지팽이 기타.....
Date2012.07.01 By대건안드레아 Views15791 -
최동수 선생님이 새로 만드신 총 기타...
Date2012.06.30 By대건안드레아 Views16399 -
세계적인 기타제작가 액자 전달식
Date2012.06.30 By대건안드레아 Views11436 -
왜 4번줄만 끊어지는가?
Date2012.06.15 By돌빈대 Views19018 -
사운드홀의 비밀
Date2012.06.14 By돌바퀴 Views19978 -
기타의 공명은 제갈공명인가?
Date2012.06.14 By돌모기 Views12293 -
기타와 초음파진단기
Date2012.06.12 By돌파리 Views11235 -
공명은 음을 확대하는가?
Date2012.06.04 ByEchoOff Views13867 -
실험정신(공명)
Date2012.06.04 By제갈공명 Views13745 -
특별한 기타.....음향반사판기타
Date2012.06.02 By콩쥐 Views16981 -
클래식기타 컬렉션 2008
Date2012.06.12 By리브라 Views14892 -
현장이 짧은 기타에 대하여-2
Date2012.06.11 By최동수 Views12766 -
현장이 짧은 기타에 대하여-1
Date2012.06.10 By최동수 Views16438 -
헬름홀츠의 공기공명
Date2012.06.08 By최동수 Views18030
Designed by sketchbooks.co.kr / sketchbook5 board skin
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5