2000.12.05 19:47
베르나베 기타가 어쩌고 저쩌고... 흠냐뤼.. 무식해서..
(*.232.87.38) 조회 수 10000 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 |
---|---|---|---|---|
1142 | ☞:aaa앞판가격은.... | 명노창 | 2000.08.04 | 8768 |
1141 | ☞:aaa앞판가격은.... | 피어리나 | 2000.07.17 | 9345 |
1140 | ☞:gsp? 궁금하네요.. | 고은별 | 2000.10.05 | 9740 |
1139 | ☞:gsp? 고은별님 명노창입니다. | 명노창 | 2000.10.06 | 11890 |
1138 | ☞:paulino Bernabe 헤드 사진 | 형서기형 후배 | 2000.09.01 | 10026 |
1137 | ☞:TORRES PLAN BACK ☞ 그럼 모조? | 토러스플랜 | 2000.09.04 | 10722 |
1136 | ☞:weissgerber가 맞아요.. | 말괄량이 | 2000.07.04 | 8529 |
1135 | ☞:감사합니다=^^=명노창입니다. | 명노창 | 2000.08.05 | 9321 |
1134 | ☞:감사합니다=^^=명노창입니다. | 김남호 | 2000.08.06 | 9595 |
1133 | ☞:개발입니다. | 개발 | 2000.09.01 | 8530 |
1132 | ☞:개코입니다. | 개코 | 2000.08.31 | 8881 |
1131 | ☞:거문고 가야금 오리발이 세개인 이유? | 이재화 | 2000.10.19 | 9835 |
1130 | ☞:게놈기타. | 화음 | 2000.07.21 | 8669 |
1129 | ☞:고노기타 가격이....2. | 수 | 2000.08.25 | 10421 |
1128 | ☞:고질적 문제 3번선... | 안진수 | 2000.09.14 | 9076 |
1127 | ☞:고질적 문제 3번선... | 개발 | 2000.09.09 | 9068 |
1126 | ☞:고질적 문제 3번선... 동감함다. | 개뼈다구 | 2000.09.08 | 9113 |
1125 | ☞:곰발바닥아이힝어 햐, 존 기타구나... | cc | 2000.08.10 | 9452 |
1124 | ☞:구멍많은 기타들.... | CC | 2000.06.11 | 10347 |
1123 | ☞:귀찮지 않으시다면...고은별님... | 가스파르 | 2000.10.10 | 8305 |
1122 | ☞:기타 냄새....제기타는 장미향이 납니다. | hochma | 2000.09.27 | 9181 |
1121 | ☞:기타줄 받으셨는지 궁금하군요... | 명노창 | 2000.08.16 | 7731 |
1120 | ☞:깔레바로형 기타-Contreras | 수 | 2000.09.23 | 9956 |
1119 | ☞:꼬벨라리가???? | 고형석 | 2000.06.12 | 10083 |
1118 | ☞:내가 원하는 기타는... | 김남호 | 2000.08.27 | 6630 |
1117 | ☞:내가 원하는 기타는... | 개풀 | 2000.08.25 | 8676 |
1116 | ☞:노창님~ 어떤음반 듣고싶어요? | 명노창 | 2000.10.08 | 7113 |
1115 | ☞:대박찬스....기회는 자주없수다. | 개풀 | 2000.09.16 | 11155 |
1114 | ☞:마티아스 담만...... | 명노창 | 2000.10.22 | 12332 |
1113 | ☞:바이스 버거? | 지우압바 | 2000.07.01 | 10916 |
1112 | ☞:베렌트의 사망원인. | whisky | 2000.08.24 | 9549 |
1111 | ☞:베이스 기타좀.... | 수 | 2000.10.06 | 8416 |
1110 | ☞:비밀스런 이야기는요... | 웅수 | 2000.07.12 | 8354 |
1109 | ☞:빠진게 있네요. | 이재화 | 2000.10.19 | 11148 |
1108 | ☞:쇠줄기타(통기타) 한대만들라고하는데... | cc | 2000.08.28 | 9194 |
1107 | ☞:스프러스 아이힝거에 대해... | 고형석 | 2000.06.12 | 10443 |
1106 | ☞:안녕하세요..명노창입니다. | 명노창 | 2000.08.04 | 11982 |
1105 | ☞:안녕하세요..명노창입니다. | 김남호 | 2000.08.16 | 8798 |
1104 | ☞:안녕하세요..명노창입니다. | 명노창 | 2000.08.04 | 9843 |
1103 | ☞:안녕하세요..명노창입니다.80년대 당시 가격표 | 명노창 | 2000.08.05 | 9938 |
1102 | ☞:안녕하세요..명노창입니다.80년대 당시 고노기타가격... | 명노창 | 2000.08.05 | 11290 |
1101 | ☞:앞판은 세상에서 가장연한 나무로 그리고 옆판과 뒤판은 대리석을 얇게 짤라서.... | 개풀 | 2000.08.31 | 8652 |
1100 | ☞:웅수엉아............. | 명노창 | 2000.10.04 | 9054 |
1099 | ☞:음....그 플레타... | 형서기 | 2000.09.16 | 9487 |
1098 | ☞:음메 어려운거...... | 명노창 | 2000.09.16 | 9586 |
1097 | ☞:음정에 관해 | 안진수 | 2000.09.14 | 9646 |
1096 | ☞:음정에 관해 | 개뼈다구 | 2000.09.14 | 9292 |
1095 | ☞:음정에 관해 | 안진수 | 2000.09.14 | 9208 |
1094 | ☞:자기 악기를 바꾸는 것은 바보? | 명노창 | 2000.07.09 | 8986 |
1093 | ☞:저도 한몫 거들지요.....(내용없음) | 명노창 | 2000.09.02 | 9084 |
1092 | ☞:제가아는 정도 | 명노창 | 2000.07.13 | 10024 |
1091 | ☞:컥.. | 이정원 | 2000.10.01 | 8467 |
1090 | ☞:탄현에너지의 분산에 관하여... | cc | 2000.06.14 | 9541 |
1089 | ☞:탄현에너지의 분산에 관하여... | hiena | 2000.06.12 | 9596 |
1088 | ☞:평균율=> 실용적인 악기 제작을 위한 타협 | 개발(CC) | 2000.09.16 | 10218 |
1087 | ☞:평균율은 원래 고개 절래절래 하데요? | 안진수 | 2000.09.14 | 11094 |
1086 | ☞:평균율은 원래 고개 절래절래 하데요? | 개풀 | 2000.09.14 | 9966 |
1085 | ☞:현의 길이에 대한 생각.... | 안진수 | 2000.09.19 | 11279 |
1084 | ☞:홀에 대해서 질문... | bronto | 2000.06.15 | 7974 |
1083 | ☞:홀에 대해서 질문... | 몽자삼촌 | 2000.06.12 | 9194 |
1082 | ☞:홀에 대해서 질문... | cc | 2000.06.14 | 8764 |
1081 | ☞:홀에 대해서 질문... | cc | 2000.06.14 | 9162 |
1080 | ☞:확실히... | 개털 | 2000.09.16 | 9649 |
1079 | ☞:확실히... | 개풀 | 2000.09.16 | 8691 |
1078 | ☞개풀님은 나머지 98%를 어따 뒀어? | 개풀 | 2000.08.19 | 8598 |
1077 | ☞뜨아..울림은 좋을것 같은데 맑지는 않을것 같다... | 명노창 | 2001.03.10 | 8321 |
1076 | ☞흐어~ 제가 파는게 아니오라 그냥 퍼온광고임다. (내용무) | 셰인 | 2001.05.11 | 9691 |
1075 | 가격과 소리 69 | 100호유저 | 2010.01.03 | 31563 |
1074 | 가격대별 기타 사진(headstock, rosette, label) | 고정석 | 2001.04.08 | 10781 |
1073 | 가격이 싼 습도측정기 4 | 수 | 2005.07.13 | 11879 |
1072 | 가까이서본 하까란다.. 2 | 혁 | 2004.04.06 | 10936 |
1071 | 가습방법 및 제 삼겹살 기타((triple top , cedaruce guitar ?) ㅋ 27 | 오모씨 | 2005.12.14 | 11013 |
1070 | 가야금, 거문고는 어떤줄을 쓰나요? | sophia | 2000.10.27 | 9071 |
1069 | 가오리가 치는 로마닐료스 3 | 기타리스트 | 2004.12.23 | 11053 |
1068 | 가장 음량이 큰 기타는 ?? | 지우압바 | 2000.08.18 | 9461 |
1067 | 가장큰음량의 기타? | 지우압바 | 2000.08.18 | 9311 |
1066 | 가즈오 사또 3 | 강명구 | 2001.04.12 | 10669 |
1065 | 간단의견만으로는 좀 미흡해서... | 형서기 | 2001.02.02 | 11834 |
1064 | 간단한 댐핏 만들기 13 | 리브라 | 2012.01.04 | 26942 |
1063 | 갈라짐 수리 | 수 | 2024.01.01 | 5819 |
1062 | 갈릭...줄 말인데요.. 13 | korman | 2006.09.21 | 10990 |
1061 | 감사합니다=^^=명노창님 | 김남호 | 2000.08.05 | 9530 |
1060 | 강남길 주문제작 5호 | Khkhw | 2023.02.13 | 4834 |
1059 | 강화도 수님 공방 기타제작. | 떠버기 | 2018.10.12 | 10086 |
1058 | 같이 잠수함 타게요.. | 지우압바 | 2000.10.31 | 11738 |
1057 | 개발님의 글은... | 희정 | 2000.09.09 | 8532 |
1056 | 개풀님 기타 알아맞추기.... | 개풀 | 2000.09.14 | 8595 |
1055 | 개풀님~ 하하 ...다혈질이시져? | 개풀 | 2000.08.18 | 10662 |
1054 | 개풀입니다1 | 개풀 | 2000.08.31 | 9849 |
1053 | 개풀입니다2 | 개풀 | 2000.09.01 | 8905 |
1052 | 개풀환영. | 개 삐다구 | 2000.08.31 | 9003 |
1051 | 거문고 가야금 오리발이 세개인 이유? | 곁눈질 | 2000.10.18 | 12089 |
1050 | 거트현 만드는 과정 [일본어] | 옥용수 | 2004.04.11 | 10333 |
1049 | 건강한 프렛 | 수 | 2022.09.04 | 6008 |
1048 | 게놈기타. | 말괄량이 | 2000.07.07 | 9474 |
1047 | 게르노트 바그너 3 | 콩쥐 | 2006.08.19 | 10654 |
1046 | 겨울과 기타 | 박 장 규 | 2002.01.30 | 11911 |
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