Ready for bracing

This is the Torres bracing from SE 153.

For Sale

You hear about the depreciation of cars – you lose a few thousand as soon as you drive it off the lot. One website says that you lose 9% of the value immediately. I have heard that guitar buyers feel the same way, that as soon as a guitar is second hand it loses a lot of “value”. This might be due to a number of different causes: the added value of having a relationship of some sort with the artisan along with some level of customisation or the pride of ownership of something shiny and new. On the other hand some will quote the price of second hand instruments to show that new prices are inflated; guitar-makers are overcharging. Well, that last idea is a bit crazy because if we were overcharging no one would buy our instruments especially since there seem to be guitars at every price point. Furthermore I disagree in general with the idea that guitars lose value as they age. First, they get played in and sound better (usually). Second, a guitar that has survived a few summers and some hard playing will be very unlikely to crack or warp if it hasn’t already. Third, as always you are getting what you see as opposed to ordering a guitar and accepting what you get. And last but not least is the wood. We can’t always get our hands on spectacular wood and some woods can take on the most amazing colour as they age.

Of course I have ulterior motives for this rant. I just got one of my guitars back on a trade-in and it happens to be a particularly fabulous guitar so I am betting that I can sell it quickly for the same price as a new one. You know, put your money where your mouth is, the proof is in the pudding. It should be said that both the client and myself recognise the value of this one as being equal to a new one. The first thing about this guitar is how well it has been taken care of over the 10 years of its life. It looks so good that I am not even going to touch up the french polish. The spruce top has taken on a beautiful golden colour that only exposure to light can give it over time. The rosewood I used is that orangey-red and black that everyone wants and these days you just don’t find. This is my Torres SE153 copy so most of you know how good that sounds. I put some new Rodgers on it and will throw in a nice case too. The scale length is 650 and the width at the nut is 50. Write or call for pricing. +34-654-570801 johnguitar(at)johnguitar.com Just for your information my client took a copy of the Invencible also Torres.


No sé si utilizar la palabra depreciación o más bien devaluación para hablar del fenómeno de la pérdida de valor de un coche en cuanto sales del concesionario. Algunas fuentes hablan de un 9% de bajada de precio de inmediato. También hay quien relaciona esto con las guitarras. Puede ser por que valoramos mucho la relación con el constructor o la posibilidad de hacer un pedido personalizado o simplemente nos gusta tanto las cosas nuevas y brillantes. Por el otro lado hay quien te habla de los precios de los instrumentos de segunda mano como prueba del delito de precios inflados. Tonterías! Si los precios de nuevas guitarras fueron demasiado altos no las comprarían la gente. Hay precios para todos los gustos además. Yo no estoy de acuerdo con todas estas ideas. Una guitarra si te vale, puedes hacer música con ella y te gusta la estética da igual la edad que pueda tener (hasta cierto límite, claro). Primero, una guitarra suele sonar mejor con el tiempo. Segundo, una guitarra que ha viajado, se ha tocado y ha sobrevivido un par de veranos en el sur ya tiene cierta garantía: si tenía tendencia a rajarse o a deformarse ya lo habría hecho. Tercero, como comprar en las tiendas, la pruebas y te la llevas – nada de encargar y esperar. Y por último está la madera, hay unas maderas de hace unos años que son espectaculares y ya no se ven. En cuanto a las maderas claras estas envejecen y toman un tono dorado precioso.

Claro claro, todo esto no es hablar por hablar. Acabo de recibir una guitarra mía como cambio por otro modelo. Da la casualidad de que es una guitarra maravillosa y estoy seguro que pueda venderla por el mismo precio que una nueva. Ya que defiendo que las guitarras no pierdan valor a ver si soy capaz de demostrarlo. Tanto yo como el cliente estamos de acuerdo en que esta guitarra desde luego vale tanto como una nueva. Lo primero que destaca de esta guitarra es el estado. Se ha tocado bastante en sus 10 años pero está casi como nueva. Hasta el punto de que no pienso retocar el barniz. La tapa de abeto ha adquirido un color dorado que solo confiere la luz y el tiempo. El palosanto es aquel anaranjado con notas negras que todo el mundo quiere pero nadie encuentra. Es la copia que hago de Torres SE153 así que ya sabes que suena bien. He instalado unos Rodgers nuevos y pondré también un estuche bueno. Es 650 con 50 en la cejilla como el original. Llamame o escribe para el precio. 654-570801. johnguitar@johnguitar.com. Por vuestra información el cliente se llevo una copia de la Invencible de Torres.

Birth of a Logo

We needed a logo for the Association of Guitar-makers and I had a few offers from web developers and designers but there was really no interest among the members to spend money on that sort of thing. So I thought maybe I could do something:I took a photo of the guitar after wrapping it up in string the way we do to glue the back on. We do this in order to put light pressure on all points of the back and to be able to heat it up afterwards. In this case I wasn’t glueing the back on but rather trying to get the perfect shot so the guitar is a completed one and I didn’t do it on the solera. I was then able to negativize it and clean it up and get rid of the background. Then it was a matter of reducing it to black and white.And of course to find the right orientation. Of course deciding how to do it and trying different photos initially is what took the most time. And here is the final result on a business card. I love it because it really represents us but is simple and aesthetically pleasing.

New Flamenco Festival

Flamenco took centre stage on Tuesday at the Town hall and the mayor once again put his support behind culture in Granada. Santiago Benavides and Pepe Luis Carmona are the directors of the “Milnoff Flamenco Festival” which aspires to take its place among the great festivals in Spain. Each day is dedicated to a particular flamenco artist. All of the participating public institutions were represented and professed their dedication to culture and their support for those who need it to make a living. Given the situation due to Covid 19 all events will be free of charge for the public.

 

DO, 13 Septiembre. INAUGURACIÓN. LUIS HABICHUELA.

20:30h. CONCIERTO INAUGURAL: PEPE LUIS CARMONA HABICHUELA
”Imparadisium”
Jardines del Generalife.

Artistas Invitados:
QUINTETO SOLISTA DE LA ORQUESTA CIUDAD DE GRANADA
CORO DE CÁMARA GRANADA JORGE MORATA

LU, 14 Septiembre. ENRIQUE MORENTE.

PLAZOLETAS

12:30h. SERGIO GÓMEZ “EL COLORAO“
Paseo de los Tristes

13:25h. AMPARO HEREDIA LA REPOMPILLA
Pasiegas

14:45h. JUAN ÁNGEL TIRADO
Plaza Bib-Rambla

18:00h. JÓVENES HABICHUELA: ESTRELLA DE MANUELA Y TRIANA ”LA CANELA”
Plaza Bib-Rambla

DE ARTES

Información completa próximamente

TRASNOCHES

22:00h. SOLEÁ MORENTE Y KIKI MORENTE
“Dos corazones a un tiempo“
Palacio de los Córdova

MA, 15 Septiembre. MARIO MAYA.

PLAZOLETAS

12:30h. RAIMUNDO BENÍTEZ
Paseo de los Tristes

13:25h. JARA HEREDIA
Plaza Pasiegas

14:15h. IVÁN VARGAS
Plaza Bib-Rambla

DE ARTES

Información completa próximamente

TRASNOCHES

22.00h. JUAN ANDRÉS MAYA
”Furia Maya”
Lugar: Palacio de los Córdova

MI, 16 Septiembre. JUAN HABICHUELA.

PLAZOLETAS

12:30h. RAFAEL HABICHUELA
Paseo de los Tristes

13:25h. MIGUEL OCHANDO
Plaza Pasiegas

14:15h. JOSE FERMÍN FERNÁNDEZ
Plaza Bib-Rambla

DE ARTES

Información completa próximamente

TRASNOCHES

22:00h. JÓVENES HABICHUELA: MARINA CARMONA, JUAN CARMONA, LUCAS CARMONA Y CARLOS CARMONA
Lugar: Palacio de los Córdova

JU, 17 Septiembre. CAMARÓN.

PLAZOLETAS

12:30h. DAVID DE JACOBA Y CARLOS DE JACOBA
Lugar: Paseo de los Tristes

13:25h. RAÚL MIKEY MOLINA
Lugar: Plaza Pasiegas

14:15h. IRENE MOLINA
Lugar: Plaza Bib-Rambla

DE ARTES

Información completa próximamente

TRASNOCHES

22:00h. LA FABI Y BELÉN LÓPEZ
“Flamenco con nombre de Mujer“
Lugar: Palacio de los Córdova

Del 13 al 17 Septiembre. SEMANA DE ARTES.

DE ARTES

Exposiciones de Artes y Tecnología
Ciclo de charlas Flamenco Hablado
Cine Flamenco Milnoff
Master class Flamenco

Working on wonderful old guitars

Last week I finished some work on a Manuel de la Chica 1970 and it has now gone back to its owner. The guitar was in excellent shape but needed some work and especially the owner wanted an expert opinion on a previous intervention and the stability of a crack which seemed to be starting. The first thing I do with a guitar like this is examine it completely and investigate its history and construction as deeply as possible. The first thing I noticed was that the entire guitar was built with white glue. I continue to to find that hide glue is the best glue for guitars the way I make them and have long held that it is superior in every way. This excellent instrument is making me step back from my fierce defense of exclusive hide glue use although I have no intention of moving to synthetic glues at this time. The guitar is extremely well made and gives the impression that, to quote Yuris Zeltins: “he made every cut with a samurai sword”. I think de la Chica brought a technical level to building that didn’t exist in Granada before him.

One of the discoveries I made examining this guitar is the tall brace under the bridge which at first made me think that someone had modified the guitar. However, upon further investigation it seems that Manuel designed the guitar with this element in mind and installed it from the beginning. Since then I have seen photos of two other Chica guitars with the same construction. I am very happy with the result in the look and sound of the guitar and to demonstrate it is Marcus Toscano with Manhã de Carnaval by Luiz Bonfá. He also brought his Marcelo Barbero guitar and hearing the two guitars together was very special.