2000.12.05 19:47
베르나베 기타가 어쩌고 저쩌고... 흠냐뤼.. 무식해서..
(*.232.87.38) 조회 수 5054 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 |
---|---|---|---|---|
326 | ☞ 라미레즈 갖고시퍼라 | csr | 2001.03.07 | 3954 |
325 | 어린이용 기타 | 마~당발 | 2001.03.03 | 3864 |
324 | 어린이용 기타아 | 문병준 | 2001.03.02 | 3773 |
323 | 어린칭구가 연주할 기타는 얼마나 작아야죠? | 김종표 | 2001.03.02 | 3778 |
322 | 줄이 두겹씩 되어있는 기타? | 해피보이 | 2001.03.01 | 3879 |
321 | Jonathan Hinves는... | 마~당발 | 2001.03.01 | 4511 |
320 | 이작펄먼의 바이올린. | 수 | 2001.02.28 | 3882 |
319 | Jonathan Hinves는요.. | 형서기 | 2001.03.02 | 4528 |
318 | ☞ Jonathan Hinves악기 사진..... | 명노창 | 2001.03.02 | 6336 |
317 | ☞ Jonathan Hinves는요..(형서기님 설명 좀 더해줘요) | 궁금이 | 2001.03.07 | 4220 |
316 | Jonathan Hinves 덧붙여.. | 형서기 | 2001.03.08 | 5601 |
315 | 수님............ | 이재화 | 2001.02.28 | 3938 |
314 | 스테판 슈미트의 악기를 알고싶읍니다. | 매니선 | 2001.02.25 | 3829 |
313 | 시적왈츠 악보구해요~ | 은표 | 2001.02.24 | 3969 |
312 | ☞ 스테판 슈미트의 악기.... | 미니압바 | 2001.02.26 | 3857 |
311 | 지금 내가 치는기타... (심심해서 올려요..^^) | 으랏차차 | 2001.02.22 | 4187 |
310 | 로버트 락 아저씨...... | 명노창 | 2001.02.22 | 4947 |
309 | 이게 바로..중국제 스몰맨 카피 기타..! | 으랏차차 | 2001.02.21 | 5243 |
308 | 마린몬테로 아저씨....아니 할아버지..... | 명노창 | 2001.02.20 | 4869 |
307 | 궁금 | guitarra | 2001.02.20 | 3800 |
306 | 호세 루비오 | 과객 | 2001.02.20 | 5162 |
305 | 덜렁이님 기타 넘 좋다!!!!!! | illiana | 2001.02.19 | 3920 |
304 | 기타 수리에 대하여 | alteclub | 2001.02.19 | 3715 |
303 | 스몰맨 기타에 대해... | 으랏차차 | 2001.02.18 | 4261 |
302 | 부산가서 베르나베 6현 쳐 보고... | 미니압바 | 2001.02.18 | 4030 |
301 | ☞ 스몰맨 기타에 대해... | 형서기 | 2001.02.18 | 4452 |
300 | 수님 보세요 | 이재화 | 2001.02.17 | 3910 |
299 | 칠이넘 어려워......... | 이재화 | 2001.02.16 | 4234 |
298 | 오옷...드디어... | 형서기 | 2001.02.19 | 3859 |
297 | 저도 칠이넘 어려워요......... | 수 | 2001.02.16 | 3793 |
296 | 줄감개가 기타음색에 어떤 영향을 미치나요? | 파뿌리 | 2001.02.15 | 3784 |
295 | 현이 어디 묶여있나요? | 수 | 2001.02.15 | 4968 |
294 | 마린몬테로에 관한 자세한 정보 부탁드립니다 | 파뿌리 | 2001.02.14 | 4075 |
293 | ☞ 마린 나온거 있습니다..... | 덜렁이 | 2001.02.18 | 3735 |
292 | 니콜라스 야노에 대해서 알구 싶어여. | 형서기 | 2001.02.13 | 3999 |
291 | ☞ [질문]마린의 종류? | 왕초보 | 2001.02.15 | 4432 |
290 | ☞ ☞ 저도 안토니오마린 몬테로를 구입할 예정입니다. | 명노창 | 2001.02.15 | 4236 |
289 | ☞ ☞ ☞ 스페인에서 직접사면 싸요..... | 명노창 | 2001.02.15 | 3916 |
288 | ☞ ☞ ☞ ☞ ㅎㅎㅎ제껀 안토니오 마린 몬테로~*^^* | 덜렁이 | 2001.02.15 | 5284 |
287 | ☞ ☞ ☞ ☞ 덜렁이님...밉다...씨..나도 마린사면 약올려야지...*.* | 명노창 | 2001.02.16 | 4206 |
286 | 마린 나온거 있습니다..... | 지나가던이 | 2001.02.17 | 4663 |
285 | 데이비드 러셀의 기타는? | 길손 | 2001.02.12 | 4252 |
284 | 아아..보이는데 가질 수 없는건.. | ganesha | 2001.02.06 | 3725 |
283 | 나의 결정~! | 으랏차차 | 2001.02.03 | 3678 |
282 | 현장길이?? | 으라차차 | 2001.02.02 | 4769 |
281 | 이완 탄질이 쓰던 뷔히만... | 형서기 | 2001.02.02 | 3896 |
280 | 엄태흥님과 엄태창님의 관계는? | 으랏차차 | 2001.02.02 | 4521 |
279 | ☞ 이완 탄질이 쓰던 뷔히만... | 가난한유학생 | 2001.02.04 | 4091 |
278 | 간단의견만으로는 좀 미흡해서... | 형서기 | 2001.02.02 | 4022 |
277 | 나만의 50만원대 수제기타 벤치마크 | 으랏차차 | 2001.02.01 | 5167 |
276 | ☞ ☞ ☞ ☞ ☞ ☞ 일주일후에 연락드리지요... | 명노창 | 2001.02.05 | 4084 |
275 | 저 대신 조언을 부탁드립니다. | 셰인 | 2001.01.31 | 3597 |
274 | ☞ 나만의 50만원대 수제기타 벤치마크 그리고 또다른 고민... | 으랏차차 | 2001.02.01 | 4282 |
273 | ☞ ☞ 제글이 없어 졌네요..... | 명노창 | 2001.02.03 | 3737 |
272 | ☞ ☞ ☞ 제글이 없어 졌네요..... | 으랏차차 | 2001.02.03 | 3919 |
271 | ☞ ☞ ☞ ☞ 으랏차차님..기타사면 연락줘요.이곳에 온 기념으로 GSP기타줄 선물할께요... | 명노창 | 2001.02.03 | 4205 |
270 | ☞ ☞ ☞ ☞ ☞ 저도 한벌 안될까요?? | 왕초보 | 2001.02.03 | 3853 |
269 | 나일론+스틸기타 | gaspar | 2001.01.30 | 4753 |
268 | A,J. Lucas | gaspar | 2001.01.30 | 5326 |
267 | 왜 일본에는 그토록 기타 인구가 많나요? | 스기 | 2001.01.28 | 4167 |
266 | ^^;;;; | 으랏차차 | 2001.01.28 | 3737 |
265 | 여기에는 여러가지 이유가 있을 수 있습니다만... | 미니압바 | 2001.01.29 | 3748 |
264 | ☞ 특히 일본에 관한 저의 개인적인 생각.... | 명노창 | 2001.01.29 | 3975 |
263 | ☞ ☞ 위의 글에 덪붙여서..... | 명노창 | 2001.01.29 | 3875 |
262 | ☞ ☞ ☞ 또다시 위의 글에 덪붙여서..... | 명노창 | 2001.01.29 | 3830 |
261 | 난 이런 기타가 조아 | 기타리스트 리 | 2001.01.28 | 4497 |
260 | 제가요 기타를 배우는 데요... | 기타리스트 리 | 2001.01.28 | 3711 |
259 | 웅수엉아 봐주십시요 | 이영남 | 2001.01.27 | 3810 |
258 | 수엔명노창님 | 이영남 | 2001.01.27 | 4391 |
257 | 국산 수제기타... 2 | 으랏차차 | 2001.01.27 | 6321 |
256 | 왼손가락 장애 입니다 | 이영남 | 2001.01.27 | 3942 |
255 | 왼손가락 중지가 문제라면... | 수 | 2001.01.27 | 3930 |
254 | ☞ 음이란 너무 정직하답니다.... | 명노창 | 2001.01.28 | 3964 |
253 | Romanillos 로제트사진 | 일랴나 | 2001.01.27 | 3890 |
252 | ☞ 전문 제작가인 웅수엉아에게 상의해보세요... | 명노창 | 2001.01.27 | 3791 |
251 | Jeffrey Elliott 하나더 | 일랴나 | 2001.01.27 | 4197 |
250 | Jeffrey Elliot 로제트 | 일랴나 | 2001.01.27 | 3833 |
249 | ☞ Jeffrey Elliott 헤드부분 | 일랴나 | 2001.01.27 | 3763 |
248 | 기타1,2번줄 음정 다운 현상 | 최종일 | 2001.01.26 | 4370 |
247 | 쩝....기타를 새로 살려구요...-_- | 고정욱 | 2001.01.25 | 4251 |
246 | 기타사고 싶어요 | 구경본 | 2001.01.20 | 3765 |
245 | Rodgers head machine | 기타마니아 | 2001.01.14 | 5446 |
244 | Khono | 기타마니아 | 2001.01.14 | 4313 |
243 | Yuichi imai | 기타마니아 | 2001.01.14 | 4662 |
242 | 제가 갖고 싶은 기타 | 기타마니아 | 2001.01.13 | 4523 |
241 | Gilbert 로젯 | 기타마니아 | 2001.01.13 | 3929 |
240 | 기타제작에 관심있는 분들 2 | gaspar | 2001.01.11 | 4592 |
239 | 사이몬 마티 | 기타마니아 | 2001.01.07 | 5202 |
238 | ☞ 기타제작에 관심있는 분들 | 이재화 | 2001.01.14 | 3891 |
237 | 묀히를 아시나요? | 스기 | 2001.01.07 | 3813 |
236 | 내가 가지고 싶은 기타..이런 기타가 있나여? | 형서기 | 2001.01.02 | 3799 |
235 | edgar monch | 수 | 2001.01.07 | 4952 |
234 | 자살했읍니다. | 아논 | 2001.01.08 | 4343 |
233 | 제프리 엘리엇- 하나 더 | gaspar | 2000.12.29 | 4468 |
232 | 제프리 엘리엇-로제트: 이정도면 되나요 일랴냐님 | gaspar | 2000.12.29 | 4038 |
231 | 정말 감사합니다 | 일랴나 | 2000.12.29 | 3675 |
230 | 내가 갖고 싶은 기타(4) - Greg Smallman | 일랴나 | 2000.12.28 | 5107 |
229 | 내가 갖고 싶은 기타(3) - Daniel Friederich | 일랴나 | 2000.12.28 | 6049 |
228 | 앞판사진 | 일랴나 | 2000.12.28 | 3899 |
227 | 뒷판사진 | 일랴나 | 2000.12.28 | 3777 |
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Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5