2000.12.05 19:47
베르나베 기타가 어쩌고 저쩌고... 흠냐뤼.. 무식해서..
(*.232.87.38) 조회 수 5061 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 |
---|---|---|---|---|
226 | 휘었다면 수리는 가능한지? 수리가 어려운가요? | 수 | 2000.10.06 | 5813 |
225 | ☞:gsp? 궁금하네요.. | 고은별 | 2000.10.05 | 5022 |
224 | 휘었다면 수리는 가능한지? 수리가 어려운가요? | essene | 2000.10.05 | 5080 |
223 | 험프리 스몰맨카피인가보당..... | 이쁜이 | 2000.10.05 | 5453 |
222 | 험프리 and Guitar | gaspar | 2000.10.05 | 5294 |
221 | 험프리기타의 뱃속...and | gaspar | 2000.10.05 | 6187 |
220 | gsp? 궁금하네요.. | 고은별 | 2000.10.05 | 5543 |
219 | 베이스 기타좀 알려주세요. | 이재화 | 2000.10.05 | 4101 |
218 | 고노가 알리앙스랑 결혼해부렸구만요.... | 수 | 2000.10.05 | 4067 |
217 | 휜것도 가지가지..... | 말괄량이 | 2000.10.05 | 5830 |
216 | 네크가 휘어졌는지 확인하는 방법을 알려주십시요 | 김민철 | 2000.10.05 | 4676 |
215 | GSP 하루 후 연주후기.... | 명노창 | 2000.10.04 | 5567 |
214 | ☞:웅수엉아............. | 명노창 | 2000.10.04 | 4171 |
213 | 어제 미제 GSP하이텐션 기타줄을 몇벌 구했습니다. | 명노창 | 2000.10.03 | 4463 |
212 | 기타를 새로 장만 했는데.... | 이종철 | 2000.10.03 | 4723 |
211 | 이정원님의 잘못이 아닙니다... | 형서기 | 2000.10.02 | 4451 |
210 | ☞:컥.. | 이정원 | 2000.10.01 | 4168 |
209 | 이런 방이 있다는걸 이제야 알았습니다. | 이재화 | 2000.10.01 | 4572 |
208 | 오호? | 형서기 | 2000.09.30 | 4271 |
207 | 한가지 더. | malhute | 2000.09.29 | 5456 |
206 | 저도 얼마전 기타를 하나 장만했습니다. | 왕초보 | 2000.09.28 | 4598 |
205 | 한가지 더. | 형서기 | 2000.09.28 | 5217 |
204 | 폴리우레탄 냄새? | 형서기 | 2000.09.28 | 5315 |
203 | ☞:기타 냄새....제기타는 장미향이 납니다. | hochma | 2000.09.27 | 4233 |
202 | 기타 냄새... | 이정원 | 2000.09.26 | 4636 |
201 | ☞:깔레바로형 기타-Contreras | 수 | 2000.09.23 | 5891 |
200 | 깔레바로형 기타-Contreras | 가스파르 | 2000.09.23 | 6085 |
199 | 현길이 그 다양한 완성. | 개꼬리 | 2000.09.21 | 5525 |
198 | ☞:현의 길이에 대한 생각.... | 안진수 | 2000.09.19 | 5458 |
197 | 현의 길이에 대한 생각.... | 개털 | 2000.09.18 | 5615 |
196 | 골루세스의 기타는... | 뺑코 | 2000.09.17 | 4293 |
195 | Daniel Friedrich라는 제작가에 대해 알려주세용 | illiana | 2000.09.17 | 5082 |
194 | We can do it! C~HA~HA! | 김 재한 | 2000.09.16 | 4129 |
193 | 정말대박일까? | 개삐다구. | 2000.09.16 | 4284 |
192 | 프렛과 음정 이야기. -_-; | 안진수 | 2000.09.16 | 5867 |
191 | ☞:대박찬스....기회는 자주없수다. | 개풀 | 2000.09.16 | 4071 |
190 | ☞:확실히... | 개풀 | 2000.09.16 | 4014 |
189 | ☞:평균율=> 실용적인 악기 제작을 위한 타협 | 개발(CC) | 2000.09.16 | 4640 |
188 | 다들 왜 이러지? 호호호! | 99.9% | 2000.09.16 | 4486 |
187 | 차라리.. | 길가던나그네 | 2000.09.16 | 4464 |
186 | ☞:확실히... | 개털 | 2000.09.16 | 4342 |
185 | ☞:음....그 플레타... | 형서기 | 2000.09.16 | 4173 |
184 | ☞:음메 어려운거...... | 명노창 | 2000.09.16 | 3759 |
183 | ☞:평균율은 원래 고개 절래절래 하데요? | 개풀 | 2000.09.14 | 4312 |
182 | 개풀님 기타 알아맞추기.... | 개풀 | 2000.09.14 | 4270 |
181 | ☞:고질적 문제 3번선... | 안진수 | 2000.09.14 | 4421 |
180 | ☞:음정에 관해 | 안진수 | 2000.09.14 | 4440 |
179 | ☞:음정에 관해 | 안진수 | 2000.09.14 | 4273 |
178 | ☞:평균율은 원래 고개 절래절래 하데요? | 안진수 | 2000.09.14 | 4425 |
177 | ☞:음정에 관해 | 개뼈다구 | 2000.09.14 | 4517 |
176 | 평균율은 원래 고개 절래절래 하데요? | 진국 | 2000.09.14 | 5139 |
175 | 음정에 관해 | 개풀 | 2000.09.13 | 4591 |
174 | 3번선이 얇아지면 해결? | 개풀 | 2000.09.13 | 4919 |
173 | 3번선이 얇아지면 해결? | 개팔자 | 2000.09.13 | 5211 |
172 | 개발님의 글은... | 희정 | 2000.09.09 | 3864 |
171 | ☞:고질적 문제 3번선... | 개발 | 2000.09.09 | 4331 |
170 | ☞:고질적 문제 3번선... 동감함다. | 개뼈다구 | 2000.09.08 | 4278 |
169 | 고질적 문제 3번선... | 개털 | 2000.09.08 | 4611 |
168 | 전형적인 토레스. | 수 | 2000.09.04 | 4299 |
167 | ☞:TORRES PLAN BACK ☞ 그럼 모조? | 토러스플랜 | 2000.09.04 | 5896 |
166 | TORRES PLAN FRONT ☞ 왠지 짜가? | 토러스플랜 | 2000.09.04 | 6161 |
165 | 토레스 기타플랜은 여러가진데... | 수 | 2000.09.03 | 4887 |
164 | 베르나베 좋져.... | 형서기 | 2000.09.03 | 4042 |
163 | 베르나베 좋긴 좋더군여.. | hochma | 2000.09.02 | 4545 |
162 | ☞:저도 한몫 거들지요.....(내용없음) | 명노창 | 2000.09.02 | 4305 |
161 | 윽! 이것을 어찌 짜집기 할꼬? | TORRES | 2000.09.02 | 4227 |
160 | 지우압바가 연주한 기타아! | M.Rozas | 2000.09.02 | 6823 |
159 | 킁킁...논쟁을 위한 준비 운동 | 개코 | 2000.09.02 | 4420 |
158 | 후배님 있쟈나여... | 형서기형 후배 | 2000.09.02 | 5303 |
157 | We can do it! C~HA~HA! | 맹글고시포 | 2000.09.02 | 4271 |
156 | <font color=blue>감샤! 꾸벅! [진짜내용없음]</font> | 泳瑞父 | 2000.09.02 | 4925 |
155 | <font color=blue>구경이라도 하고 싶은데 어찌 안될까요?</font> | 형서기형 후배 | 2000.09.02 | 4752 |
154 | 기타맹글고 싶어하는분...명단. | whisky | 2000.09.02 | 3997 |
153 | ☞: 전 명노창님 욕한적 없는데요? 흐흐흑... | 개풀 | 2000.09.01 | 4354 |
152 | <font color=blue>me?designer게시판의 45번 글쓴이...</font> | m?d 45번 | 2000.09.01 | 4727 |
151 | <font color=blue>구경이라도 하고 싶은데 어찌 안될까요?</font> | 泳瑞父 | 2000.09.01 | 4491 |
150 | 초보를 위한 클래식기타 제작 강습회 제안... | 신우현 | 2000.09.01 | 5043 |
149 | Rodolfo Camacho 헤드 | 형서기형 후배 | 2000.09.01 | 5724 |
148 | ☞:paulino Bernabe 헤드 사진 | 형서기형 후배 | 2000.09.01 | 5407 |
147 | paulino Bernabe 헤드 사진 | 형서기형 후배 | 2000.09.01 | 5807 |
146 | Ignasio M. Rozas 헤드. | 형서기형 후배 | 2000.09.01 | 5858 |
145 | 토레스 기타 프랜 갖고 계신가여 수 선생님?? | 형서기형 후배 | 2000.09.01 | 4289 |
144 | ☞: 전 명노창님 욕한적 없는데요? 흐흐흑... | 개발 | 2000.09.01 | 3831 |
143 | 개풀입니다2 | 개풀 | 2000.09.01 | 4323 |
142 | 기타메이커 빠진거 확인부탁여.. | 형서기형 후배 | 2000.09.01 | 4362 |
141 | ☞: 얼마전에 고노를 사랑한다고 했다가 님으로 부터 뒤지게 욕먹은.... | 명노창 | 2000.09.01 | 5077 |
140 | ☞:개발입니다. | 개발 | 2000.09.01 | 4821 |
139 | 좋은 생각입니다.. | 개털 | 2000.09.01 | 4430 |
138 | 짧은 식견이지만.. | 개풀 | 2000.09.01 | 4196 |
137 | ☞:개코입니다. | 개코 | 2000.08.31 | 4369 |
136 | 짧은 식견이지만.. | 화음 | 2000.08.31 | 4142 |
135 | 개풀환영. | 개 삐다구 | 2000.08.31 | 4393 |
134 | 개풀입니다1 | 개풀 | 2000.08.31 | 4819 |
133 | ☞:앞판은 세상에서 가장연한 나무로 그리고 옆판과 뒤판은 대리석을 얇게 짤라서.... | 개풀 | 2000.08.31 | 3756 |
132 | 콘트라레스는요.... | 수 | 2000.08.31 | 4721 |
131 | 마뉴엘 콘트라레스를 알고시퍼여.. | 민성 | 2000.08.31 | 5800 |
130 | 쇠줄기타의 난문제. | whisky | 2000.08.30 | 4354 |
129 | 제 뜻은 옆판과 뒷판은 비중적으로 앞판과 정다른 가장 단단한 나무를 사용해야... | 개풀 | 2000.08.29 | 5207 |
128 | 제 뜻은 옆판과 뒷판은 비중적으로 앞판과 정다른 가장 단단한 나무를 사용해야... | 명노창 | 2000.08.29 | 5090 |
127 | 쇠줄기타의 난문제. | cc | 2000.08.29 | 4091 |
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Sketchbook5, 스케치북5