2000.12.05 19:47
베르나베 기타가 어쩌고 저쩌고... 흠냐뤼.. 무식해서..
(*.232.87.38) 조회 수 5515 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 |
---|---|---|---|---|
634 | 미야모토 김빠치 1937년 42호 작품을 복각품 수준으로 제작하셨습니다. 7 | 스님 | 2007.06.26 | 8066 |
633 | 바로크기타 만들기 입문 [일본어] 2 | 옥용수 | 2004.04.11 | 5523 |
632 | 바리오스 망고레의 기타 7 | 훈 | 2011.10.24 | 16032 |
631 | 바리톤기타. 최동수님 작품. 6 | 콩쥐 | 2007.09.20 | 9898 |
630 | 바이스를 위해 탄생한 13현 아치기타 21 | 산골스트링즈 | 2007.05.01 | 7284 |
629 | 바이올린에 관한책. | 고정석 | 2000.12.04 | 5700 |
628 | 바이올린에는 사운드포스트라는 게 있다던데..... | 스기 | 2001.01.10 | 4862 |
627 | 발 받침대 한컷 4 | 대건안드레아 | 2012.05.12 | 16064 |
626 | 배부른 앞판 낮추기 1 | 수 | 2022.12.30 | 2225 |
625 | 백화현상 2 | 연어 | 2023.06.18 | 2026 |
624 | 베란다기타 실패... | 명노창 | 2000.07.04 | 5158 |
» | 베르나베 기타가 어쩌고 저쩌고... 흠냐뤼.. 무식해서.. | 변소반장 | 2000.12.05 | 5515 |
622 | 베르나베 아자씨.... 음.. 할아버진가?? | 변소반장 | 2000.12.05 | 4184 |
621 | 베르나베 좋긴 좋더군여.. | hochma | 2000.09.02 | 4939 |
620 | 베르나베 좋져.... | 형서기 | 2000.09.03 | 4506 |
619 | 베르나베라는 악기가 궁금합니다 | 악기사랑 | 2001.03.06 | 4257 |
618 | 베벨 켓웨이 | 수 | 2023.02.19 | 2108 |
617 | 베이스 기타좀 알려주세요. | 이재화 | 2000.10.05 | 4552 |
616 | 베트남산 비단뱀 기타 1 | ganesha | 2001.09.04 | 4821 |
615 | 베트남산 비단뱀 기타 2 | ganesha | 2001.09.04 | 4526 |
614 | 별난 기타아에 관한 몇가지 의문? | 泳瑞父 | 2000.06.24 | 4612 |
613 | 부럽당 | 기타마니아 | 2000.10.22 | 4357 |
612 | 부럽당...정말 부럽죠? | sophia | 2000.10.22 | 4216 |
611 | 부산가서 베르나베 6현 쳐 보고... | 미니압바 | 2001.02.18 | 4470 |
610 | 부산국제악기제작가페스티벌 PT 동영상 자료 | 정천식 | 2015.06.02 | 7795 |
609 | 부쉐 다뤄보기... 5 | 난넘 | 2001.08.02 | 4373 |
608 | 부쉐 플랜에는 뭔가 특별한 것이 있나용???--수님??? 12 | 간절한 | 2002.02.23 | 5216 |
607 | 브라만 15번 조각사진 모음~~ 7 | 오모씨 | 2004.02.15 | 7344 |
606 | 브라만(Anselmo) 암레스트 13 | 혁 | 2004.10.12 | 13712 |
605 | 브라질 제작가 명단과 주소. | 수 | 2000.07.19 | 6024 |
604 | 브라질로 일주일간 출장갑니다. 7 | 이창수 | 2005.04.17 | 5338 |
603 | 브리지 핀 완성품 2 | 수 | 2020.09.20 | 4164 |
602 | 브리지 12홀 제작 2 | 수 | 2020.08.29 | 4250 |
601 | 브리지 핀 | 수 | 2020.08.29 | 3669 |
600 | 브리지라 그랬는데 왜 줄받침만 수리되어 온걸까요? 3 | 콜로디아 | 2004.11.23 | 5331 |
599 | 브릿지 하현주에서 나는 잡음에대해.. | JoDaC | 2006.12.13 | 5590 |
598 | 브릿지개조 기타 12 | 훈 | 2008.09.04 | 14736 |
597 | 브릿지에 대한 질문. 10 | 쏠레아 | 2008.09.22 | 8663 |
596 | 브릿지와 새들의 접합면이 이상해서 글 올립니다용. 5 | 간절한 | 2001.05.09 | 5310 |
595 | 비브라토 기타. | 귀똘이 | 2000.06.07 | 4928 |
594 | 사바레스 하이텐션이람.. 2 | 뽀짱 | 2001.05.27 | 4828 |
593 | 사소한 줄 묶을때 신경쓸것들 | 수 | 2024.05.12 | 589 |
592 | 사오정?...으..부들부들 | sophia | 2000.08.19 | 4790 |
591 | 사오정?...으..부들부들 | 개풀 | 2000.08.19 | 4600 |
590 | 사운드 홀.. | 으랏차차 | 2001.02.01 | 4640 |
589 | 사운드홀에 스피커 달기. 6 | 쏠레아 | 2008.09.24 | 10284 |
588 | 사운드홀의 비밀 15 | 돌바퀴 | 2012.06.14 | 20459 |
587 | 사이몬 마티 | 기타마니아 | 2001.01.07 | 5671 |
586 | 사이몬마티를 아시나요? | 왕초보 | 2000.12.06 | 4310 |
585 | 사이좋은 그레고리오 형제 4 | 그레고리오 | 2007.08.28 | 5923 |
584 | 사일런트 기타 | 수 | 2024.01.20 | 1163 |
583 | 사일런트기타 개선 | 수 | 2023.06.14 | 2233 |
582 | 상아 ivory ..........넛트 새들 | 수 | 2023.09.01 | 2348 |
581 | 상처투성이 기타 1 | 수 | 2022.01.04 | 3537 |
580 | 상하현주 가공 질문 드려요~ 11 | 상하현주 | 2005.11.28 | 6321 |
579 | 상현주가 쇠라면??? 플렛이 뼈라면??? | 간절한 | 2001.10.25 | 4448 |
578 | 상현주와 하현주의 재질..... 13 | 상아 | 2004.02.28 | 6562 |
577 | 새로 단장한 흑단 지판.. 7 | 으랏차차 | 2001.07.13 | 4604 |
576 | 새로운 기타케이스 8 | 뮤즈기타 | 2004.12.06 | 8648 |
575 | 서대영님 공방에서 기타를 하나 들고와서... 3 | 소리난다 | 2003.12.28 | 7603 |
574 | 서민석 기타에 대하여 7 | ----- | 2005.11.28 | 11538 |
573 | 서울 ,,,자작기타제작 영상 | 수 | 2024.04.11 | 960 |
572 | 성가 혹은 가스펠송에 대한 클레식기타 악보에 6 | 김준화 | 2005.01.26 | 8684 |
571 | 세계의 기타제작가 주소...www.cybozone.com에서 퍼왔슴다. | 수 | 2002.09.30 | 10779 |
570 | 세계적인 기타제작가 액자 전달식 1 | 대건안드레아 | 2012.06.30 | 11771 |
569 | 세고비아>야마시타>앙헬 8 | 종이컵 | 2009.04.26 | 7947 |
568 | 세고비아의 기타. | 수 | 2001.04.05 | 4696 |
567 | 세고비아의 라미레즈 6 | ganesha | 2016.06.25 | 8073 |
566 | 세고비아의 명기에 대한 동영상. 1 | 콩쥐 | 2008.02.03 | 6955 |
565 | 세락을 능가하는 한국 고유의 "황칠" | 일랴나 | 2001.03.17 | 5920 |
564 | 세르게이 디용의 기타...캐나다 토론토....2000. | 메니아 | 2001.10.07 | 4870 |
563 | 세상에서 젤로 비싼기타가 모예요? 엄마가 하나사준데여... 47 | 철갑왕 | 2002.02.01 | 6985 |
562 | 세팅에 드는 시간.... | 수 | 2022.12.06 | 2444 |
561 | 센빠이 혹시 영서부 | 곰팽이 | 2000.11.11 | 4439 |
560 | 셀락칠 마무리를 콤파운드로 하는걸... 2 | 대왕세손 | 2008.07.14 | 7521 |
559 | 셸락이라구여? | 형서기 | 2000.07.26 | 6166 |
558 | 셸락칠은 약해요, 원래. 4 | 수 | 2001.05.18 | 4482 |
557 | 셸락칠의 단점극복에 기대하며... | 수 | 2001.03.18 | 4418 |
556 | 소르와 아구아도??? 5 | 궁금 | 2004.07.14 | 5720 |
555 | 소리, 연주자에 의해 좌우된다.스트라디바리우스와 현대 바이올린, 그 차이점은 무었인가? 8 | 고정석 | 2001.10.31 | 5354 |
554 | 소리가 트인다는게...어떤거죠?? 6 | 고정욱 | 2001.09.09 | 4790 |
553 | 소리로 앞판 건조 시킨다면서요? | 말괄량이 | 2000.06.17 | 5724 |
552 | 소리를 들어 보고 나서 | 고은별 | 2000.10.18 | 4153 |
551 | 손에 맞는 기타 17 | 고정석 | 2003.12.22 | 7048 |
550 | 손이 기준이죠.... | 수 | 2000.12.20 | 4173 |
549 | 손크기에 맞는 기타 추천부탁드려요, 4 | 학생 | 2009.10.01 | 9540 |
548 | 손톱 5 | 줄떨어진기타 | 2017.03.24 | 7461 |
547 | 손톱 굽은 분들 보셔용... 6 | 해피보이 | 2006.01.21 | 8700 |
546 | 손톱손질용 버퍼모음 4 | 손톱손질 | 2007.06.14 | 8880 |
545 | 손톱이 약해서 쉽게 뿌러 지시는 분들........ 6 | 명노창 | 2002.01.26 | 6016 |
544 | 솔로에트 이외의 기타들 - 일본것? 6 | 박원홍 | 2002.08.02 | 5453 |
543 | 쇠줄기타의 난문제. | whisky | 2000.08.30 | 4843 |
542 | 쇠줄기타의 난문제. | cc | 2000.08.29 | 4596 |
541 | 수경낭자 감사*^^* | 이병훈 | 2000.07.21 | 5142 |
540 | 수님 롤랑디얀 기타 무슨 기타에여?? 6 | 아따보이 | 2002.06.14 | 5284 |
539 | 수님 반갑습니다....그리구요.. | yosip | 2001.03.14 | 4294 |
538 | 수님 질문이 한가지 있습니다. | 목향 | 2001.07.10 | 4341 |
537 | 수님 홈피에... 2 | 일자무식 | 2001.05.16 | 4538 |
536 | 수님! 어린이용 기타의 기준은? | 泳瑞父 | 2000.12.20 | 4104 |
535 | 수님~! 3 | 박카스 | 2001.06.22 | 4177 |
Designed by sketchbooks.co.kr / sketchbook5 board skin
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5