Classical guitar identification by headstock design

Classical guitar identification by headstock design serial numbers#
Classical guitar identification by headstock design serial number#

This guitar will be shipped in used hard case in overall good condition. Many modern era luthiers describe such plates as 'semi-solid'.ДЇingerboard: Super Well Ebonized Rosewood (feels like Ebony)ДЄction is set to 3.7 mm under E6 and 3.20 mm under E1 with still extra room on the saddle. They were made so well that they performed as good as solid woods while being far less expensive in guitar production and far more resistant to cracking in regular use. These 'laminates' were made from 2 layers of solid wood glued together with natural resins. вЂњLaminatedвЂќ is quite unfortunate term regarding Japanese made guitars.

It is so sensitive that if you drop a rice grain on it you will hear a decent вЂњrumbleвЂќ.Д«ack & Sides: Indian Rosewood double-plate/urethane The soundboard of this guitar is thin that you may see and almost touch its braces. Top: Highest Grade (very tight grain with 'eyes') Solid Spruce/Torres style fan of 5 braces/lacquer It naturally doesnвЂ™t affect the sound nor structure of the instrument. The most 'serious' cosmetic flaws are few very small and hardly visible dents on its top, few light dents & abrasions along its edges and tip of the headstock.Д¬loudiness of the finish on the back and sides is greatly exaggerated on the pictures. It is very important to mention that most Asturias guitars made after Matano's departure, are simply no match to his Meiko Gakki/Asturias guitars made since late 1960s through late 1970s/beginning of 1980s.Дespite its age this Asturias A6 guitar remains in at least very good cosmetic and perfect working condition. He was called вЂњthe Genius of the SoundвЂќ for a good reason. Masaru Matano however wasnвЂ™t a вЂњregularвЂќ luthier. In the вЂњregular worldвЂќ the higher the volume of the guitar the lower its note clarity, separation and overall tonality. Despite its high volume note separation of this guitar is simply superb.ДЄll luthiers and only very experienced players know how difficult it is to create an instrument that offers all these mentioned above sound properties. Trebles are clear and bright, yet very sweet and colorful. With extended sustain they sound almost like cello.

Its basses are deep but very clean, almost metallic, yet with great deal of overtones. It is relatively light, has incredible volume and is very responsive. This guitar absolutely deserves to be called вЂњGrand Concert GuitarвЂќ. To prove that Torres made a super sounding guitar with cardboard back and sides. Solid wood back and sides add very little to overall tonality of a guitar. This guitar also confirms what Antonio de Torres kept explaining to all guitar lovers: A well worked soundboard made from high quality solid wood is all that is needed to make guitar sound great. Everyone with such experience will agree that Masaru Matano was indeed a Genius of Sound. It will especially impress players who already have experienced many 'hand made in Spain' $5000+ guitars available on US market. But it is a PERFECT CONCERT guitar that will impress even most demanding listener. It is not 'all solid woods' construction. While all earlier made M.Matano (Meiko gakki) classe xxx guitars were made basing on Jose Ramirez blueprints, this A6 guitar was made basing on Antonio de Torres blueprints. and Matano left the guitar making industry for good.

Classical guitar identification by headstock design serial number#

Serial number system was introduced by Asturias in 1981, soon after this workshop was taken over by Rokkomann Co.

Classical guitar identification by headstock design serial numbers#

These early Asturias guitars didn't have any serial numbers on their labels. Years 1977-1978 were the years of Matano's transition in labelling of his models from 'Classe xxx' to 'Asturias xx'. Guitars with original headstocks and Asturias labels were introduced by Matano for the first time in 1977. This wonderful guitar was made in 1980 by Masaru Matano, one of the best luthiers Japan ever had.