2000.12.05 19:47
베르나베 기타가 어쩌고 저쩌고... 흠냐뤼.. 무식해서..
(*.232.87.38) 조회 수 5217 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.
번호 | 제목 | 글쓴이 | 날짜 | 조회 수 |
---|---|---|---|---|
433 | 앞판에 붙은 부챗살의 갯수는 몇개가 이상적일까여? | 형서기 | 2001.01.15 | 4901 |
432 | 앞판은 세상에서 가장연한 나무로 그리고 옆판과 뒤판은 대리석을 얇게 짤라서.... 1 | 명노창 | 2000.08.05 | 5726 |
431 | 앞판을 교체하는 작업 | 수 | 2020.04.17 | 4214 |
430 | 앞판이 깨지면 | 수 | 2022.09.04 | 1915 |
429 | 앞판칠을 셸락으로 바꾸면? 4 | 으랏차차 | 2002.04.17 | 5117 |
428 | 앰프 꽂을 수 있는 클래식 기타.. | 궁금 | 2003.06.25 | 5095 |
427 | 야간 쉘락칠 1 | gdream7 | 2005.12.24 | 5132 |
426 | 야광기타. | 귀똘이 | 2000.06.09 | 4384 |
425 | 야마하 Grand Concert 41 모델 아시는 분 계세요? 5 | ㅁㅁ | 2010.02.25 | 10833 |
424 | 야마하 대나무 기타.. 2 | 고정욱 | 2002.04.19 | 7565 |
423 | 야마하 싸일런트 기타 SLG-100N 샀습니다 2 | 구멍맨 | 2006.06.24 | 7408 |
422 | 야쉘락 2 | gdream7 | 2005.12.24 | 5244 |
421 | 야이리 기타를 구입했어요^^* 4 | 욱이 | 2002.02.07 | 5983 |
420 | 야이리 기타를 사려고 하는데요.. 3 | 욱이 | 2002.02.01 | 5857 |
419 | 야이리기타 14 | Gdream7 | 2005.04.09 | 9029 |
418 | 양쉐페이....그녀에게 누가 그렇게 많은기타를 주었나? 5 | 지방맨. | 2001.10.01 | 5194 |
417 | 어떤 기타가 잘 만든 기타인가요? 13 | 금모래 | 2020.05.01 | 4879 |
416 | 어떤걸 사야하나? | 이병훈 | 2000.07.21 | 5335 |
415 | 어린이용 기타 | 마~당발 | 2001.03.03 | 4025 |
414 | 어린이용 기타아 | 문병준 | 2001.03.02 | 3926 |
413 | 어린칭구가 연주할 기타는 얼마나 작아야죠? | 김종표 | 2001.03.02 | 3925 |
412 | 어제 미제 GSP하이텐션 기타줄을 몇벌 구했습니다. | 명노창 | 2000.10.03 | 4641 |
411 | 어찌야쓰까이잉~ 7 | 멋쟁이 | 2001.05.23 | 4049 |
410 | 어쿠스틱 포트와 험프리라이징보드넥 5 | sangsik | 2003.05.04 | 6834 |
409 | 얼마전 100호기타를 구입했는데... 18 | 렐리우스 | 2001.07.09 | 4297 |
408 | 엄씨 가문의 기타에 관한 냉철한 평을 부탁드립니다. 15 | 남경민 | 2001.05.02 | 5262 |
407 | 엄태흥님과 엄태창님의 관계는? | 으랏차차 | 2001.02.02 | 4705 |
406 | 엇..옥용수님 기타만들기입문 .....다시올려주세요.(영문번역도있었는데) 3 | 수 | 2004.04.22 | 4830 |
405 | 에~~~ 미워요.. | 김현영 | 2000.10.29 | 4538 |
404 | 에르고 플레이 고무압착기 오래 쓰는 방법 2 | 피날레 | 2012.09.03 | 11638 |
403 | 여기에는 여러가지 이유가 있을 수 있습니다만... | 미니압바 | 2001.01.29 | 3924 |
402 | 여러번 감으면 | 수 | 2022.09.15 | 1846 |
401 | 여름철 기타 관리 요령... 1 | 木香 | 2002.03.23 | 5735 |
400 | 여태본 굴비중 가장 깨끗한 굴비당. | 관식 | 2000.10.11 | 4974 |
399 | 역시 내가 원하는 악기도... | 泳瑞父 | 2000.08.25 | 4232 |
398 | 연이은질문]Paul Fischer에 대해... | 형서기 | 2000.10.21 | 3917 |
397 | 연주시의 기타 지지도구(Guitar Supporting System) | 신정하 | 2002.02.21 | 5508 |
396 | 연주자를 쏙 빼닮는 악기. 19 | 콩쥐 | 2006.02.28 | 8869 |
395 | 연주자의 악기 | 수 | 2024.05.24 | 216 |
394 | 연주자의 기타 | 수 | 2023.12.28 | 1383 |
393 | 연주자의 기타. 2 | 콩쥐 | 2005.11.18 | 5447 |
392 | 연주회 포스터할만한 사진이나 그림 없을까여? 1 | 은영이 | 2001.09.21 | 5305 |
391 | 연주회합니다~ 3 | 정호중 | 2001.04.14 | 4020 |
390 | 예민한 기타? 멍청한 기타? 7 | 뽀짱 | 2001.12.08 | 5740 |
389 | 예쁜소리는 예쁜손톱에서 나온다(손톱다듬기 강의) 2 | 박카노 | 2020.08.04 | 4345 |
388 | 오늘 쳐본 60년도 프리드리히 2 | hesed | 2003.06.26 | 4915 |
387 | 오래된 기타 새로 칠하기 | 수 | 2020.07.09 | 3805 |
386 | 오래된 기타 구경하세요~ 11 | 수육 | 2007.12.16 | 9369 |
385 | 오래된 스푸르스,3000년 | 수 | 2020.10.04 | 4109 |
384 | 오른손연습용 기타 | 수 | 2024.02.21 | 688 |
383 | 오아시스 가습기와 개구리알~ 12 | JS | 2008.07.06 | 15970 |
382 | 오옷...드디어... | 형서기 | 2001.02.19 | 4037 |
381 | 오일바니쉬... 4 | 다울랜드.. | 2012.04.25 | 15149 |
380 | 오호...갔다가 왔군... | 형서기 | 2000.08.03 | 4734 |
379 | 오호? | 형서기 | 2000.09.30 | 4425 |
378 | 오홍.... | 형서기 | 2000.07.10 | 5442 |
377 | 옻나무에선 옻칠이... | 수 | 2001.02.18 | 4238 |
376 | 와그너와의 대담. | 수 | 2017.04.20 | 4880 |
375 | 왜 4번줄만 끊어지는가? 8 | 돌빈대 | 2012.06.15 | 19077 |
374 | 왜 기타가 깨질까 | 방가방가 | 2001.07.02 | 4308 |
373 | 왜 로즈우드는 그렇게 기름기가 많은가? 1 | 수 | 2001.07.19 | 5240 |
372 | 왜 일본에는 그토록 기타 인구가 많나요? | 스기 | 2001.01.28 | 4338 |
371 | 왜? 49 | 쏠레아 | 2010.03.07 | 12913 |
370 | 외국기타의 주문방법좀 가르쳐 주셔요, | 간절한 | 2000.11.11 | 3975 |
369 | 왼손가락 장애 입니다 | 이영남 | 2001.01.27 | 4153 |
368 | 왼손가락 중지가 문제라면... | 수 | 2001.01.27 | 4109 |
367 | 왼손편한기타 6 | 두식이네 | 2009.06.01 | 9106 |
366 | 요즘 중고기타가격이.... 3 | 매냐 | 2003.07.19 | 5870 |
365 | 요즘은 장마철이라 습도가 높져... 1 | 수 | 2001.07.02 | 3937 |
364 | 우레탄칠 질문드릴께요! 4 | 김영규 | 2008.01.08 | 6882 |
363 | 우리나라 나무로 기타제작 시도해보신분.. 13 | 강나루 | 2006.05.05 | 9106 |
362 | 우리나라 나무사정 | 스기 | 2001.02.01 | 4650 |
361 | 우리나라 아열대기후로 바뀐거 맞나봐여. 10 | 콩쥐 | 2007.11.02 | 6287 |
360 | 우와...좋은아이디어 생각났어요.... 16 | 수 | 2006.03.04 | 5722 |
359 | 울동네서 발견한 기타에이드 22 | 수 | 2006.12.06 | 6851 |
358 | 울림구멍...(포트)... 6 | 나래지기 | 2003.12.08 | 6096 |
357 | 울림통 이야기. 2 | 쏠레아 | 2008.08.21 | 8912 |
356 | 울림통? 공명통? 어느 것이 맞습니까? 24 | 쏠레아 | 2008.09.07 | 7723 |
355 | 울프톤 이해를 돕기 위한 그림입니다 ^^ 64 | EchoOff | 2009.05.12 | 13702 |
354 | 웅수엉아 봐주십시요 | 이영남 | 2001.01.27 | 4017 |
353 | 웅수엉아...과연 우리나라에서 기타를 처음제작하신분은 누구일까요? | 명노창 | 2000.12.25 | 5747 |
352 | 원목구성과 소리의 관계에 대한 가르침 원합니다 7 | superman | 2007.09.17 | 6054 |
351 | 원하는 줄만 골라서 눌러주는 Capo 소개합니다. 2 | 사꼬™ | 2008.09.30 | 6912 |
350 | 위의 글들을 읽으니 저도 기타를 만들어보고 싶네요... | 김웅찬 | 2000.11.01 | 4816 |
349 | 유명악기에 대한 평이 엇갈리는건... 1 | 수 | 2001.04.09 | 4071 |
348 | 으....이번 여름에 어딜 가야 되는고얌... | 형서기 | 2001.02.23 | 4424 |
347 | 으라차차님 기타는 더 좋아질거예요. 2 | 수 | 2001.05.19 | 4125 |
346 | 으미~ 기타는 어케 만드는쥐요? | 김현영 | 2000.10.29 | 4763 |
345 | 으하하하 기타 새로 샀는데요 정말 좋아미치겠어요 2 | 송호연 | 2004.07.12 | 6124 |
344 | 윽! 이것을 어찌 짜집기 할꼬? | TORRES | 2000.09.02 | 4383 |
343 | 음량의 이중성. | 개풀 | 2000.08.18 | 4286 |
342 | 음량의 이중성. | sophia | 2000.08.18 | 5011 |
341 | 음반 표지 소개. | 눈물반짝 | 2001.04.30 | 4890 |
340 | 음의 분리도와 원달성 8 | 쏠레아 | 2008.09.08 | 8068 |
339 | 음정에 관해 | 개풀 | 2000.09.13 | 4775 |
338 | 음질의 이중성. 1 | 날카론시각. | 2001.08.27 | 3908 |
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