2000.12.05 19:47
베르나베 기타가 어쩌고 저쩌고... 흠냐뤼.. 무식해서..
(*.232.87.38) 조회 수 5375 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 |
---|---|---|---|---|
1134 | Jonathan Hinves는요.. | 형서기 | 2001.03.02 | 4881 |
1133 | 기타의 순결? | 말괄량이 | 2000.06.12 | 4883 |
1132 | 아래글 도움 될만한 사진 몇개여..(쓰루넥방식의 베이스) | 기타랑 | 2001.10.27 | 4885 |
1131 | 기타매냐를 들르는 모든 사람들에게.. 2 | 기타는내친구 | 2004.03.01 | 4887 |
1130 | 기타에서 부채살은 무슨 역할을 하나요? | 인성교육 | 2002.01.06 | 4887 |
1129 | 기타의 재료는 꼭 나무이어야만 하는가? | CC | 2000.06.08 | 4887 |
1128 | 이런 방이 있다는걸 이제야 알았습니다. | 이재화 | 2000.10.01 | 4889 |
1127 | 지판의 재질도 음색에 영향을 주나요? | 스기 | 2001.01.08 | 4891 |
1126 | 클래식기타에 관해 질문이 있습니다 1 | 문 | 2005.12.29 | 4894 |
1125 | 한가지더 질문인데요.... 기타줄은.. 1 | 느끼오빠 | 2001.07.19 | 4894 |
1124 |
[re] Domingo Esteso
![]() |
수 | 2005.06.14 | 4897 |
1123 | aaa앞판가격은.... | 명노창 | 2000.07.04 | 4898 |
1122 |
제가 갖고 싶은 기타
![]() |
기타마니아 | 2001.01.13 | 4901 |
1121 | 습도에 따른 기타바디의 변형... 1 | 木香 | 2001.10.03 | 4903 |
1120 |
난 이런 기타가 조아
![]() |
기타리스트 리 | 2001.01.28 | 4905 |
1119 | 내가 원하는 기타는... | 지우압바 | 2000.08.25 | 4906 |
1118 |
☞ kasha- schneider
![]() |
눈물반짝 | 2001.06.18 | 4909 |
1117 | 다양한 기타 & 망가진 부위에 따른 수선과정. [일본어] 1 | 옥용수 | 2004.04.11 | 4911 |
1116 | [re] Frameworks-Guitars... 1 | 서정실 | 2002.05.18 | 4911 |
1115 | 기타줄 바꾸고 싶은데 뭘로하죠? 5 | 노경문 | 2001.06.30 | 4911 |
1114 | 나무의 세포벽은 무엇으로든 간에 채워지는것이 좋을까요? | 명노창 | 2000.11.02 | 4912 |
1113 |
[re] 철공소사장님이 만든기타
![]() |
여름은가고 | 2005.06.14 | 4916 |
1112 | 으미~ 기타는 어케 만드는쥐요? | 김현영 | 2000.10.29 | 4916 |
1111 | 곰팽! 타우너 탑차 빌려줄께....공짜로! | 샌빠이 | 2000.11.03 | 4917 |
1110 | 만화속 기타이야기. | 지얼 | 2001.10.05 | 4918 |
1109 | 근데... 그럼 쇠소리는 모고 왜나는 걸까여?? | 변소반장 | 2000.10.11 | 4923 |
1108 |
[re] 철공소사장님이 만든기타
![]() |
여름은가고 | 2005.06.14 | 4929 |
1107 | 음정에 관해 | 개풀 | 2000.09.13 | 4931 |
1106 | 측후판 | 박장규 | 2002.02.14 | 4932 |
1105 |
[re] 뭘까요..^^ 제기타 뒷판
1 ![]() |
기타 | 2004.04.28 | 4934 |
1104 | ☞ 셈난다...자기들끼리만..... | 명노창 | 2000.10.30 | 4938 |
1103 | [re] 연주회 포스터할만한 사진이나 그림 없을까여? | 고정석 | 2001.09.22 | 4939 |
1102 | 다현기타에 대한 질문여... 22 | 무사시 | 2003.03.31 | 4941 |
1101 | [알림] 프렛계산 페이지 11 | 옥용수 | 2004.03.07 | 4943 |
1100 |
[re] 제 기타 사진이네요. 제작자를 맞추어 BoA요~
![]() |
양 | 2004.01.11 | 4943 |
1099 |
[re] 제 기타 사진이네요. 제작자를 맞추어 BoA요~
![]() |
양 | 2004.01.11 | 4944 |
1098 | [re] 이런나무로 기타를 만들면... | 오대근 | 2005.10.19 | 4944 |
1097 | 기타 냄새... | 이정원 | 2000.09.26 | 4945 |
1096 | ??? | 언플러그 | 2000.08.26 | 4946 |
1095 | 오호...갔다가 왔군... | 형서기 | 2000.08.03 | 4950 |
1094 | 그로피우스기타 , | 말괄량이 | 2000.07.07 | 4954 |
1093 | 저도 얼마전 기타를 하나 장만했습니다. | 왕초보 | 2000.09.28 | 4954 |
1092 | 기타 제작에 관하여 | 기타줄 | 2004.07.26 | 4957 |
1091 | 일반적인 클래식 기타와 플라멩코 기타의 차이점이 무엇인가여? 7 | 바실리스크 | 2001.09.07 | 4961 |
1090 |
The H'arpeggione...
2 ![]() |
간절한 | 2002.07.27 | 4964 |
1089 | 고질적 문제 3번선... | 개털 | 2000.09.08 | 4965 |
1088 |
Koh Jeongseock No.18
2 ![]() |
고정석 | 2018.11.03 | 4966 |
1087 | 아아아ㅠ_ㅠ;; 어쩌죠? 기타 줄받침이... 1 | 콜로디아 | 2004.11.14 | 4971 |
1086 |
안녕하세요 ^^ 제 기타입니다
![]() |
나이스드림 | 2001.03.29 | 4971 |
1085 | 안토니오 마린 몬테로에 관한 나의 견해 | 길벗맨 | 2001.04.05 | 4972 |
1084 |
Torres 1862 년기타 (papier-mache boidied guitar) 사진2
![]() |
고정석 | 2002.05.31 | 4973 |
1083 | ☞ 몬테로 부쉐모델 | 명노창 | 2001.03.29 | 4973 |
1082 |
FM 99.9Mhz의 "음악여행"(기타리스트 권대순 출연) 녹음한 것 올려드립니다.
![]() |
무지 매냐 | 2005.01.07 | 4978 |
1081 | 혹시 Dammann 아세요? | 기타마니아 | 2000.10.21 | 4980 |
1080 | ... | 수 | 2001.01.31 | 4984 |
1079 |
☞ 로제트 사진입니다
![]() |
일랴나 | 2000.12.27 | 4989 |
1078 | 거트현 만드는 과정 [일본어] | 옥용수 | 2004.04.11 | 4990 |
1077 | 국산기타와 외제기타 | 으랏차차 | 2001.03.31 | 4993 |
1076 | 전시회 소식 몇가지 올립니다. 3 | 토토 | 2003.09.03 | 4996 |
1075 | 똥글똥글한 소리.. 맑고 투명한 소리.. 심금을 울리는 소리.. 6 | 으랏차차 | 2001.07.19 | 4997 |
1074 | 엇..옥용수님 기타만들기입문 .....다시올려주세요.(영문번역도있었는데) 3 | 수 | 2004.04.22 | 5004 |
1073 | . 1 | 수 | 2001.07.09 | 5005 |
1072 | 일단 이 말이 타당성이 있나요? | 아랑 | 2001.11.28 | 5006 |
1071 | 위의 글들을 읽으니 저도 기타를 만들어보고 싶네요... | 김웅찬 | 2000.11.01 | 5018 |
1070 |
Koh Jeongseock No.17
3 ![]() |
고정석 | 2018.09.08 | 5022 |
1069 |
기타제작에 관심있는 분들
2 ![]() |
gaspar | 2001.01.11 | 5022 |
1068 | 베란다기타 실패... | 명노창 | 2000.07.04 | 5024 |
1067 |
[re] 저의 기타 사진입니다. Brahmam 2003년 (넘버10, 624mm)
1 ![]() |
고정석 | 2004.01.09 | 5030 |
1066 | 네크가 휘어졌는지 확인하는 방법을 알려주십시요 | 김민철 | 2000.10.05 | 5035 |
1065 | 수님의 말대로... 샤콘느현이 변할까..? 1 | 김동선 | 2002.01.27 | 5037 |
1064 | 수경낭자 감사*^^* | 이병훈 | 2000.07.21 | 5040 |
1063 | ☞:평균율=> 실용적인 악기 제작을 위한 타협 | 개발(CC) | 2000.09.16 | 5043 |
1062 |
Dominique Field를 아시나요???
6 ![]() |
간절한 | 2001.09.16 | 5045 |
1061 |
기타 칠
![]() |
gdream7 | 2005.12.15 | 5046 |
1060 | 알고싶어요? 1 | 에너지 | 2005.12.15 | 5047 |
1059 | ☞:거문고 가야금 오리발이 세개인 이유? | 이재화 | 2000.10.19 | 5051 |
1058 |
음반 표지 소개.
![]() |
눈물반짝 | 2001.04.30 | 5056 |
1057 | 기타를 새로 장만 했는데.... | 이종철 | 2000.10.03 | 5057 |
1056 |
Guitarlele
3 ![]() |
ganesha | 2001.09.04 | 5058 |
1055 | 해드 머쉰 을 구하고 싶은데요? 2 | 5급 | 2001.05.11 | 5058 |
1054 | 마린 나온거 있습니다..... | 지나가던이 | 2001.02.17 | 5059 |
1053 | <font color=blue>me?designer게시판의 45번 글쓴이...</font> | m?d 45번 | 2000.09.01 | 5060 |
1052 |
[re] 제 기타 사진이네요. 제작자를 맞추어 BoA요~
![]() |
양 | 2004.01.11 | 5062 |
1051 |
기타 머리
11 ![]() |
Lacote | 2001.04.26 | 5064 |
1050 | 와그너와의 대담. | 수 | 2017.04.20 | 5073 |
1049 |
[re] 철공소사장님이 만든기타
![]() |
여름은가고 | 2005.06.14 | 5074 |
1048 | 앞판에 붙은 부챗살의 갯수는 몇개가 이상적일까여? | 형서기 | 2001.01.15 | 5080 |
1047 |
내가 갖고 싶은 기타(1) - Dammann-Spruce
![]() |
일랴나 | 2000.12.28 | 5080 |
1046 |
[re] 토레스 플렌입니다...
![]() |
박민병 | 2006.12.11 | 5081 |
1045 | 테스트 해봤더니... | 변소반장 | 2000.10.10 | 5083 |
1044 | 힌베스 팝니다. 1 | 셰인 | 2001.05.11 | 5088 |
1043 |
전판 쉘락칠,
1 ![]() |
gdream7 | 2005.12.17 | 5089 |
1042 |
Yuichi imai
![]() |
기타마니아 | 2001.01.14 | 5089 |
1041 | 시더와 스프루스의 조합은 불가능??? 2 | 간절한 | 2001.12.23 | 5090 |
1040 | <font color=blue>구경이라도 하고 싶은데 어찌 안될까요?</font> | 형서기형 후배 | 2000.09.02 | 5093 |
1039 | 제 생각엔요.. | 형서기 | 2001.05.03 | 5094 |
1038 | 여태본 굴비중 가장 깨끗한 굴비당. | 관식 | 2000.10.11 | 5095 |
1037 | 오늘 쳐본 60년도 프리드리히 2 | hesed | 2003.06.26 | 5099 |
1036 | EFEL에 관한 보충 2 | gaspar | 2002.02.21 | 5100 |
1035 | 조율기 파손.. 수리 1 | 고른이 | 2006.01.09 | 5102 |
Designed by sketchbooks.co.kr / sketchbook5 board skin
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5