2000.12.05 19:47
베르나베 기타가 어쩌고 저쩌고... 흠냐뤼.. 무식해서..
(*.232.87.38) 조회 수 5151 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.
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1233 | 나의 습도 유지방법 1 | phr | 2006.12.12 | 5896 |
1232 | [re] 토레스 플렌입니다... | 박민병 | 2006.12.11 | 4770 |
1231 | 토레스 플렌입니다... 1 | 박민병 | 2006.12.11 | 5735 |
1230 | 실내 가습 문제 해결 강추! 21 | 기타문화원 | 2006.12.08 | 8119 |
1229 | 울동네서 발견한 기타에이드 22 | 수 | 2006.12.06 | 6760 |
1228 | 스몰맨, 담만 이메일, 주소입니다. 1 | 로빈 | 2006.11.20 | 6041 |
1227 | 네크의 재료에 대해서? 3 | np | 2006.11.15 | 4925 |
1226 | 마르비 워크샾때 만든 내기타 설계도 5 | 정면 | 2006.09.25 | 7930 |
1225 | 갈릭...줄 말인데요.. 13 | korman | 2006.09.21 | 5845 |
1224 | [re] 기타-바보님 작업사진. 1 | 콩쥐 | 2006.09.20 | 6174 |
1223 | [re] 마르비와 함께한 기타 제작기. | 김중훈 | 2006.09.20 | 5447 |
1222 | [re] 마르비와 함께한 기타 제작기. | 김중훈 | 2006.09.20 | 5145 |
1221 | [re] 마르비와 함께한 기타 제작기. 2 | 김중훈 | 2006.09.20 | 5338 |
1220 | [re] 마르비와 함께한 기타 제작기. 1 | 김중훈 | 2006.09.20 | 5066 |
1219 | [re] 마르비와 함께한 기타 제작기. 1 | 김중훈 | 2006.09.20 | 5155 |
1218 | [re] 마르비와 함께한 기타 제작기. 1 | 김중훈 | 2006.09.19 | 5548 |
1217 | [re] 마르비와 함께한 기타 제작기. 7 | 김중훈 | 2006.09.19 | 5625 |
1216 | [re] 마르비와 함께한 기타 제작기. 1 | 김중훈 | 2006.09.19 | 5470 |
1215 | [re] 마르비와 함께한 기타 제작기. 1 | 김중훈 | 2006.09.19 | 5623 |
1214 | [re] 마르비와 함께한 기타 제작기. | 김중훈 | 2006.09.19 | 5382 |
1213 | [re] 마르비와 함께한 기타 제작기. | 김중훈 | 2006.09.19 | 6388 |
1212 | 마르비와 함께한 기타 제작기. 3 | 김중훈 | 2006.09.19 | 6865 |
1211 | [re] 정면님의 기타를 함께 생각하며 | 콩쥐 | 2006.09.19 | 5163 |
1210 | [re] 무쟈게 성실한 마르비 1 | 콩쥐 | 2006.09.19 | 5629 |
1209 | [re] 아직 창고가 깨끗할때 콩쥐 6 | 콩쥐 | 2006.09.19 | 5132 |
1208 | [re] marvi와 김중훈님. 1 | 콩쥐 | 2006.09.19 | 6299 |
1207 | marvi와 함께 기타만들기 사진한장. 4 | 콩쥐 | 2006.09.19 | 6837 |
1206 | Knobloch 기타줄 1 | 최창호 | 2006.09.09 | 6368 |
1205 | 스몰맨기타의 부채살사진. 13 | 콩쥐 | 2006.09.03 | 9457 |
1204 | 게르노트 바그너 3 | 콩쥐 | 2006.08.19 | 6266 |
1203 | 현높이가 너무 높아졌습니다....어쩌죠? 10 | 이지현 | 2006.08.08 | 7530 |
1202 | 하카란다.. 안쪽면에 칠?? 4 | 칠 | 2006.08.01 | 6691 |
1201 | [re] [알림] A.D.MARVI (마르비) 기타제작클라스 매니아창고사진 | 수 | 2006.07.22 | 6051 |
1200 | 기타의 액션 - Action Calculator 3 | bluejay | 2006.07.15 | 5356 |
1199 | 기타의 액션 5 | bluejay | 2006.07.15 | 6403 |
1198 | David Rodgers 튜닝머신을 주문했는데요. 5 | 허걱 | 2006.07.15 | 9077 |
1197 | [질문] 기타의 적정 현장이란게... 14 | 당배 | 2006.07.14 | 6059 |
1196 | 일본에서 고토해드머신 가격 더 쌀까요?ㅎㅎ 16 | j | 2006.07.13 | 6474 |
1195 | 째즈기타라는게 어떤 특정한 기타가 있습니까? 9 | 우주비행사 | 2006.07.13 | 5590 |
1194 | [알림] A.D.MARVI (마르비) 기타제작클라스 11 | 수 | 2006.07.12 | 6590 |
1193 | 기타인의 필수품 습도측정기. 1 | 수 | 2006.07.03 | 6726 |
1192 | 축구는끝나고 심심해서 5 | 에뚜드 | 2006.06.25 | 5272 |
1191 | 야마하 싸일런트 기타 SLG-100N 샀습니다 2 | 구멍맨 | 2006.06.24 | 7318 |
1190 | 기타리스트의 기타들 자료. | 콩쥐 | 2006.06.03 | 9435 |
1189 | 기타이야기는아니지만 스트라디바리... | 하카란다 | 2006.05.29 | 5450 |
1188 | 악기선택의 생각할점. 2 | 콩쥐 | 2006.05.21 | 6291 |
1187 | 재미있는 브릿지 디자인이 있어서... 6 | 서정실 | 2006.05.12 | 5666 |
1186 | 우리나라 나무로 기타제작 시도해보신분.. 13 | 강나루 | 2006.05.05 | 9035 |
1185 | Scale 계산법(수정:계산식이 틀렸내요)) 3 | 강나루 | 2006.04.29 | 6851 |
1184 | africa blackwood. 19 | 콩쥐 | 2006.04.16 | 6072 |
1183 | 공명통의 구조에 질문드립니다 2 | 철공소사장 | 2006.04.03 | 5354 |
1182 | 조립및 도색 완성기타 7 | gd7 | 2006.03.27 | 7607 |
1181 | 기타 나무재료 국내전문취급점 | 하늘 | 2006.03.25 | 6124 |
1180 | 하카란다 에 대한 혼동 ? 19 | esteban | 2006.03.06 | 7799 |
1179 | 키트 조립 1호 6 | gd7 | 2006.03.06 | 6419 |
1178 | 우와...좋은아이디어 생각났어요.... 16 | 수 | 2006.03.04 | 5645 |
1177 | '라이징 보드'와 '노말 보드'의 차이점 5 | 로망스 | 2006.02.28 | 7635 |
1176 | 연주자를 쏙 빼닮는 악기. 19 | 콩쥐 | 2006.02.28 | 8801 |
1175 | 작업3 14 | gd7 | 2006.02.26 | 5736 |
1174 | 작업2 8 | gd7 | 2006.02.24 | 5633 |
1173 | 작업 12 | gd7 | 2006.02.24 | 5817 |
1172 | 기타 제작에 도움이 되는 사이트 모음 1 | 토토 | 2006.02.18 | 6429 |
1171 | [re] 미겔 로드리게스 사진입니다 4 | 10현 | 2006.02.14 | 6039 |
1170 | [re] 미겔 로드리게스 사진입니다 1 | 10현 | 2006.02.14 | 5243 |
1169 | 미겔 로드리게스 사진입니다 7 | 10현 | 2006.02.14 | 7761 |
1168 | 클래시컬 기타 스트링에 대한 기초지식 | 김재승 | 2006.02.09 | 5983 |
1167 | 안드레스 카룬초 3 | 용접맨 | 2006.02.03 | 5503 |
1166 | 헉스!! 현도 소리에 많은 영향을 미치는군요 2 | 롱랑디용 | 2006.02.03 | 6337 |
1165 | 손톱 굽은 분들 보셔용... 6 | 해피보이 | 2006.01.21 | 8257 |
1164 | 역시 기타를 칠려면 손가락이 가늘고 길어야 ㅠㅠ | 기타는멋쟁이 | 2006.01.18 | 5856 |
1163 | 기타의 장력과 헤드각도 9 | 철공소사장 | 2006.01.15 | 6029 |
1162 | 저도 쉘락칠(French Polish) 3 | limnz | 2006.01.10 | 6500 |
1161 | 조율기 파손.. 수리 1 | 고른이 | 2006.01.09 | 4825 |
1160 | 조금전에 쉘락칠을 마친 기타 10 | gdream7 | 2006.01.08 | 6856 |
1159 | 내가 소지한 4대의 기타 4 | gdream7 | 2006.01.08 | 7216 |
1158 | 내가 쉘락칠한 기타 8 | gdream7 | 2006.01.08 | 6092 |
1157 | 기타 분해 조립 | gdream7 | 2006.01.08 | 6483 |
1156 | 클래식 기타~ 8 | 정수진 | 2006.01.03 | 6948 |
1155 | 수리 완료된 원음8호 5 | gdream7 | 2006.01.02 | 5895 |
1154 | 하현주 낮추기. 1 | gdream7 | 2006.01.02 | 7016 |
1153 | 20년된 기타 | gdream7 | 2005.12.31 | 7447 |
1152 | 20년된 기타 | gdream7 | 2005.12.31 | 6557 |
1151 | 20년지난기타 올 쉘락칠. 1 | gdream7 | 2005.12.31 | 6517 |
1150 | 쉘락칠. 3 | gdream7 | 2005.12.30 | 4870 |
1149 | 클래식기타에 관해 질문이 있습니다 1 | 문 | 2005.12.29 | 4705 |
1148 | 쉘 마무리. | gdream7 | 2005.12.26 | 4870 |
1147 | 쉘락마무리 17 | gdream7 | 2005.12.26 | 6159 |
1146 | 야쉘락 2 | gdream7 | 2005.12.24 | 5182 |
1145 | 야간 쉘락칠 1 | gdream7 | 2005.12.24 | 5062 |
1144 | 재 도장 2 | gdream7 | 2005.12.17 | 5381 |
1143 | 전판 쉘락칠, 1 | gdream7 | 2005.12.17 | 4858 |
1142 | 다시 쉘락칠 하기. 4 | gdream7 | 2005.12.17 | 5122 |
1141 | 알고싶어요? 1 | 에너지 | 2005.12.15 | 4808 |
1140 | 기타 칠 | gdream7 | 2005.12.15 | 4801 |
1139 | 쉘락칠 하기 9 | gdream7 | 2005.12.15 | 5940 |
1138 | 전판 쉘락칠 장면. 1 | gdream7 | 2005.12.15 | 5448 |
1137 | 전판 사포칠 장면 1 | gdream7 | 2005.12.15 | 5271 |
1136 | 전판쉘락칠 하기. 4 | gdream7 | 2005.12.15 | 5118 |
1135 | 가습방법 및 제 삼겹살 기타((triple top , cedaruce guitar ?) ㅋ 27 | 오모씨 | 2005.12.14 | 6374 |
1134 | 마르비 사진2 7 | Limpman | 2005.12.08 | 6847 |
Designed by sketchbooks.co.kr / sketchbook5 board skin
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5