2000.12.05 19:47
베르나베 기타가 어쩌고 저쩌고... 흠냐뤼.. 무식해서..
(*.232.87.38) 조회 수 5059 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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226 | 기타도료에 관한 사소한 질문입니당-특히 수님께 여쭙니다용??? 3 | 간절한 | 2001.05.05 | 3849 |
225 | Jeffrey Elliot 로제트 | 일랴나 | 2001.01.27 | 3848 |
224 | 기타 고르는데요...잘 모르겠어여...ㅠㅠ 3 | 민 | 2001.05.06 | 3845 |
223 | ☞ 하현주를 낮추면??? ... 글쎄요...??? | pepe | 2001.05.07 | 3845 |
222 | ☞ ☞ ☞ 또다시 위의 글에 덪붙여서..... | 명노창 | 2001.01.29 | 3842 |
221 | 친구가 기타샀다. 3 | 매냐 | 2001.08.29 | 3841 |
220 | 최근에 기타제작 콩쿨이 있었다는데.. | 방문객 | 2001.03.31 | 3839 |
219 | 이런이런... | 악보네방장 | 2000.10.10 | 3836 |
218 | 스테판 슈미트의 악기를 알고싶읍니다. | 매니선 | 2001.02.25 | 3833 |
217 | 타우너를 우습게 알다니 ...이노옴! | 센빠이 | 2000.11.12 | 3832 |
216 | ☞: 전 명노창님 욕한적 없는데요? 흐흐흑... | 개발 | 2000.09.01 | 3829 |
215 | 묀히를 아시나요? | 스기 | 2001.01.07 | 3829 |
214 | ☞ 줄은 지판에 닿지 않는데.... 4 | 셰인 | 2001.07.11 | 3828 |
213 | ☞ 네크가 휘는경우는요....... | 수 | 2000.12.27 | 3823 |
212 | 앞판 사진 | 일랴나 | 2000.12.28 | 3823 |
211 | ☞ 지판을 딱을 때... | 木香 | 2001.07.14 | 3821 |
210 | 웅수엉아 봐주십시요 | 이영남 | 2001.01.27 | 3817 |
209 | 아름다운 CF 한편... | 木香 | 2001.04.13 | 3816 |
208 | ☞ photo of my guitar-1 | 으랏차차 | 2001.03.26 | 3816 |
207 | 수님 질문이 한가지 있습니다. | 목향 | 2001.07.10 | 3813 |
206 | ☞뜨아..울림은 좋을것 같은데 맑지는 않을것 같다... | 명노창 | 2001.03.10 | 3813 |
205 | ☞ ☞ 중국은 황사로 너무 건조한가보네요.(정정) | 으랏차차 | 2001.03.09 | 3812 |
204 | 내가 가지고 싶은 기타..이런 기타가 있나여? | 형서기 | 2001.01.02 | 3811 |
203 | 아유...그런거 지천이야요... | 수 | 2001.05.06 | 3807 |
202 | 기타왔습니다 3 | 박카스 | 2001.06.22 | 3806 |
201 | 궁금 | guitarra | 2001.02.20 | 3806 |
200 | 고맙습니다. | 명노창 | 2000.10.09 | 3805 |
199 | 저도 칠이넘 어려워요......... | 수 | 2001.02.16 | 3804 |
198 | 베르나베 아자씨.... 음.. 할아버진가?? | 변소반장 | 2000.12.05 | 3804 |
197 | 케이스에 대한 질문. 1 | 최성우 | 2001.07.14 | 3802 |
196 | 장마철엔 조심해야죠........ 1 | 수 | 2001.06.26 | 3802 |
195 | 뒷판사진 | 일랴나 | 2000.12.28 | 3801 |
194 | 기타 추천 바랍니다. 1 | 박재만 | 2001.03.28 | 3799 |
193 | 외국기타의 주문방법좀 가르쳐 주셔요, | 간절한 | 2000.11.11 | 3799 |
192 | 이그나시오 로자스가 어리 갔나 했더니... | 매냐 | 2001.08.29 | 3797 |
191 | ☞ 전문 제작가인 웅수엉아에게 상의해보세요... | 명노창 | 2001.01.27 | 3797 |
190 | 이런 | 이재화 | 2000.10.13 | 3796 |
189 | 오래된 스푸르스,3000년 | 수 | 2020.10.04 | 3796 |
188 | ☞ 타우너를 우습게 알다니 ...이노옴! | 지우압바 | 2000.11.12 | 3795 |
187 | 줄감개가 기타음색에 어떤 영향을 미치나요? | 파뿌리 | 2001.02.15 | 3794 |
186 | 베르나베라는 악기가 궁금합니다 | 악기사랑 | 2001.03.06 | 3790 |
185 | 제발 귀 좀 귀울여 주심 안될까요? | 전우화 | 2000.11.03 | 3790 |
184 | 자문자답 | 병서기 | 2001.08.31 | 3787 |
183 | 수님감사함다. | 곰팽이 | 2000.11.05 | 3787 |
182 | 기타 계간지가 있다고 들었는데.. | 윤성규 | 2001.03.13 | 3786 |
181 | 어린칭구가 연주할 기타는 얼마나 작아야죠? | 김종표 | 2001.03.02 | 3786 |
180 | ☞:홀에 대해서 질문... | bronto | 2000.06.15 | 3782 |
179 | 케이스를 한번 만들어보면? 3 | 최성우 | 2001.07.15 | 3782 |
178 | 기타사고 싶어요 | 구경본 | 2001.01.20 | 3780 |
177 | 어린이용 기타아 | 문병준 | 2001.03.02 | 3779 |
176 | 로제트사진 | 일랴나 | 2000.12.28 | 3778 |
175 | ☞ 가오리가 쓰는 기타가? | 왕초보 | 2001.04.05 | 3776 |
174 | 개풀님~ 하하 ...다혈질이시져? | 개풀 | 2000.08.18 | 3775 |
173 | 수님께선 어쿠스틱 기타 제작은 안하시나요? ^^;;;; | 짱팔이 | 2001.07.11 | 3775 |
172 | ☞ Jeffrey Elliott 헤드부분 | 일랴나 | 2001.01.27 | 3775 |
171 | ☞ 타우너를 우습게 알다니 ...이노옴! | 곰팡이 | 2000.11.12 | 3775 |
170 | 그 사람이 그 사람이우...왕야맹 | 형서기 | 2000.11.12 | 3775 |
169 | ☞ ☞ 타우너를 우습게 알다니 ...이노옴! | 형서기 | 2000.11.12 | 3773 |
168 | 앞판사진 | 일랴나 | 2000.12.28 | 3771 |
167 | ☞ 이마이 | 기타마니아 | 2000.11.28 | 3771 |
166 | 네크의 두께.. 2 | 으랏차차 | 2001.04.20 | 3768 |
165 | ☞ ☞ 기타 제작자 이야기(3) | 기타마니아 | 2000.11.19 | 3768 |
164 | ☞ 아래 글 올린 왕 초보 입니다.. 1 | 樂 前 孤 鬪 | 2000.11.05 | 3767 |
163 | 몇가지만 더 여쭤 볼게여~~~ 3 | 기타랑 | 2001.05.18 | 3766 |
162 | ☞ 마린 나온거 있습니다..... | 덜렁이 | 2001.02.18 | 3766 |
161 | 여기에는 여러가지 이유가 있을 수 있습니다만... | 미니압바 | 2001.01.29 | 3766 |
160 | 알고 싶어요 | 평민 | 2000.11.18 | 3766 |
159 | 이마이.. 관둔게 아니래요.. | 오모씨 | 2000.12.11 | 3764 |
158 | 기타만들고파~ | ganesha | 2000.07.04 | 3761 |
157 | ☞ 8현사랑. | 피어리나 | 2001.03.17 | 3761 |
156 | ☞ 앗...그래였나? | ("@") | 2000.11.27 | 3759 |
155 | ☞:음메 어려운거...... | 명노창 | 2000.09.16 | 3758 |
154 | 직업때문에 연주회 구경 못가는 심정 | 백영업 | 2001.03.17 | 3758 |
153 | ☞ 수님만 보세요... | 곰팽이 | 2000.10.30 | 3757 |
152 | ☞:앞판은 세상에서 가장연한 나무로 그리고 옆판과 뒤판은 대리석을 얇게 짤라서.... | 개풀 | 2000.08.31 | 3755 |
151 | 수제품기타의 정의는? | 으랏차차 | 2001.03.16 | 3755 |
150 | 요즘은 장마철이라 습도가 높져... 1 | 수 | 2001.07.02 | 3754 |
149 | 앞판사진 | 일랴나 | 2000.12.28 | 3754 |
148 | 귀찮기는요. 기쁘게 보내드리죠. | 가스파르 | 2000.10.12 | 3754 |
147 | [초보]질문있습니다 | 기타치고시퍼 | 2001.03.29 | 3753 |
146 | ☞ ☞ 제글이 없어 졌네요..... | 명노창 | 2001.02.03 | 3753 |
145 | 수님~! 3 | 박카스 | 2001.06.22 | 3752 |
144 | 연이은질문]Paul Fischer에 대해... | 형서기 | 2000.10.21 | 3751 |
143 | ☞ 내기타에 문제들..웅수님도 보셔요~ ^^ | 길손입니다. | 2001.03.26 | 3750 |
142 | 저 7 | 수 | 2001.06.22 | 3749 |
141 | ^^;;;; | 으랏차차 | 2001.01.28 | 3748 |
140 | 기타에 현을 매었을 때.... 2 | 늦깎이 | 2001.05.24 | 3747 |
139 | 중요한건 습도가 얼마나 되느냐죠. | 수 | 2001.07.13 | 3746 |
138 | ☞ ☞ 정말 스페인에 가면 바로 살수..... | 간절한 | 2001.03.29 | 3746 |
137 | Boaz Elkayam_Recording Guitar | gaspar | 2000.12.28 | 3746 |
136 | 기타내부에 칠을 하면... | 수 | 2001.05.06 | 3745 |
135 | ☞:내가 원하는 기타는... | 김남호 | 2000.08.27 | 3744 |
134 | 제 기타가 이상해여....ㅜ.ㅜ 7 | 고정욱 | 2001.06.26 | 3744 |
133 | 기타줄을 새로 바껐는데여... 4 | ... | 2001.05.10 | 3744 |
132 | 네크가 휘는경우는요? | 망상 | 2000.12.27 | 3744 |
131 | 이마이딜러가 그만뒀다고 그러네요.... | 수 | 2000.12.11 | 3744 |
130 | 질문요. 1 | 방문객 2 | 2001.04.08 | 3743 |
129 | 뒷판사진 | 일랴나 | 2000.12.28 | 3743 |
128 | 중국이야기가 궁금타? 음반짱님.... | 곰팡이 | 2000.11.12 | 3743 |
127 | 카즈오 사또 시몬(?)에 대해 알고싶습니다. 5 | 청년 | 2001.04.10 | 3742 |
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Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5