2000.12.05 19:47
베르나베 기타가 어쩌고 저쩌고... 흠냐뤼.. 무식해서..
(*.232.87.38) 조회 수 5504 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 | 아~ 기타줄... 4 | 김진성 | 2001.06.13 | 4559 |
633 | 행복한? 기타 18 | 새내기 | 2001.06.12 | 5543 |
632 | 현장길이가 모냐면여.... 2 | 수 | 2001.06.12 | 5583 |
631 |
로자스 3페이지
![]() |
최성우 | 2001.06.11 | 4388 |
630 |
로자스 얘기가 많군요..
1 ![]() |
최성우 | 2001.06.11 | 4725 |
629 | 현장길이가 모예요? 5 | chobo | 2001.06.11 | 5633 |
628 | 지판과 헤드를 흑단으로... 2 | 으랏차차 | 2001.06.09 | 6195 |
627 | 헤드머쉰은 기타의 왕관이다! 1 | 으랏차차 | 2001.06.09 | 5848 |
626 | 이그나시오 로자스가 합판기타를?? 1 | 으랏차차 | 2001.06.01 | 4436 |
625 | 현이 가늘죠. | 수 | 2001.05.31 | 4839 |
624 | '사바레즈 '의 특징은 뭐예요? 4 | 진 | 2001.05.31 | 6020 |
623 | ☞ 기타에 현을 매었을 때.... | 라일 | 2001.05.29 | 4414 |
622 | [잡담]사바레즈 하이텐션.. 9 | 으랏차차 | 2001.05.28 | 5772 |
621 | 사바레스 하이텐션이람.. 2 | 뽀짱 | 2001.05.27 | 4825 |
620 | 기타에 현을 매었을 때.... 2 | 늦깎이 | 2001.05.24 | 4159 |
619 | 일년간 쉬는 원목기타라..... 1 | 수 | 2001.05.24 | 4348 |
618 | 어찌야쓰까이잉~ 7 | 멋쟁이 | 2001.05.23 | 4331 |
617 | bernabe.......kraft가 연주하는 | 수 | 2001.05.22 | 5511 |
616 | bernabe.......kraft가 연주하는 | 수 | 2001.05.22 | 4394 |
615 | 으라차차님 기타는 더 좋아질거예요. 2 | 수 | 2001.05.19 | 4384 |
614 | 셸락칠은 약해요, 원래. 4 | 수 | 2001.05.18 | 4480 |
613 | 기타의 소리 교정..(수 님께..) 3 | 으랏차차 | 2001.05.18 | 4705 |
612 | 몇가지만 더 여쭤 볼게여~~~ 3 | 기타랑 | 2001.05.18 | 4250 |
611 | 현이 높이 뜨면 습한거죠. 5 | 수 | 2001.05.17 | 5427 |
610 | 맨날 헷갈리는데.. 습도와 넥의 휘는 방향의 관계가.... 4 | 기타랑 | 2001.05.17 | 5539 |
609 | 제 경험에 의하면 1 | 서정실 | 2001.05.17 | 4713 |
608 | 기타줄 장력의 차이? | 문병준 | 2001.05.17 | 4976 |
607 | 국산50호 기타... | 형서기 | 2001.05.16 | 5436 |
606 | 수님 홈피에... 2 | 일자무식 | 2001.05.16 | 4537 |
605 | 해드 머쉰 을 구하고 싶은데요? 2 | 5급 | 2001.05.11 | 5153 |
604 | ☞흐어~ 제가 파는게 아니오라 그냥 퍼온광고임다. (내용무) | 셰인 | 2001.05.11 | 4561 |
603 | 힌베스 팝니다. 1 | 셰인 | 2001.05.11 | 5226 |
602 | 기타줄을 새로 바껐는데여... 4 | ... | 2001.05.10 | 4170 |
601 |
브릿지와 새들의 접합면이 이상해서 글 올립니다용.
5 ![]() |
간절한 | 2001.05.09 | 5302 |
600 | Dieter Hopf 8 | 박카스 | 2001.05.09 | 4685 |
599 | ☞ t-brace. 5 | 서정실 | 2001.05.09 | 6293 |
598 |
존 윌리암스가 기타를 스몰맨으로 바꾼이유.
11 ![]() |
길벗맨 | 2001.05.08 | 6513 |
597 | 할 줄 아는 것이 정말 없고낭....쩝.... 1 | 간절한 | 2001.05.08 | 5606 |
596 | ☞ 기타의 수명이 짧다는 것이 근거없다는 어느 가설 | 셰인 | 2001.05.08 | 4294 |
595 | ☞ 하현주를 낮추면??? ... 글쎄요...??? | pepe | 2001.05.07 | 4302 |
594 | 하현주를 낮추면??? 2 | 간절한 | 2001.05.07 | 5967 |
593 | 기타 고르는데요...잘 모르겠어여...ㅠㅠ 3 | 민 | 2001.05.06 | 4303 |
592 | 아유...그런거 지천이야요... | 수 | 2001.05.06 | 4238 |
591 | 기타내부에 칠을 하면... | 수 | 2001.05.06 | 4136 |
590 | ☞ 형석님 글 정말 잘 읽었습니다. | 꼬 | 2001.05.06 | 4897 |
589 | 국산 악기에 관하여. | 형서기 | 2001.05.06 | 5528 |
588 | 수님~. 기타 부품에 관해서~ 2 | 김현영 | 2001.05.05 | 4124 |
587 | 기타도료에 관한 사소한 질문입니당-특히 수님께 여쭙니다용??? 3 | 간절한 | 2001.05.05 | 4230 |
586 | ☞ 현재 사용중입니다. 평이라...글쎄요.. 4 | 꼬 | 2001.05.03 | 4922 |
585 | ☞ 써봤습니당. 엄씨가문의 기타를!!!보았습니당. 엄씨가문의 기타를!!! | 간절한 | 2001.05.03 | 5457 |
584 | 제 생각엔요.. | 형서기 | 2001.05.03 | 5208 |
583 | 엄씨 가문의 기타에 관한 냉철한 평을 부탁드립니다. 15 | 남경민 | 2001.05.02 | 5529 |
582 |
해드가 신기하게 생겨서...
4 ![]() |
목향 | 2001.04.30 | 6040 |
581 |
음반 표지 소개.
![]() |
눈물반짝 | 2001.04.30 | 5127 |
580 |
기타 머리
11 ![]() |
Lacote | 2001.04.26 | 5168 |
579 | 기타케이스...skb 2 | 목향. | 2001.04.22 | 5330 |
578 | 멋뜨러진 기타가 좋아요!!!!!!!!!!!!!!!!!!!!!!근데 돈이 엄따 2 | 기타살앙 | 2001.04.21 | 4880 |
577 | 네크의 두께.. 2 | 으랏차차 | 2001.04.20 | 4182 |
576 | 로제트는 어떻게 만드나요? 3 | 으랏차차 | 2001.04.20 | 5674 |
575 | 고노와 사쿠라이의 가격 2 | 기타좋아 | 2001.04.19 | 5289 |
574 | 스프러스와 시더 3 | 무아 | 2001.04.19 | 6230 |
573 | 50호정도의 기타를 구입하려는데 조언을 17 | 오원근 | 2001.04.18 | 4886 |
572 | 김희주양 클래식기타독주회(현 서울음대2년재학중) 1 | guitar~ | 2001.04.16 | 4370 |
571 | 연주회합니다~ 3 | 정호중 | 2001.04.14 | 4316 |
570 | 아름다운 CF 한편... | 木香 | 2001.04.13 | 4329 |
569 | 가즈오 사또 3 | 강명구 | 2001.04.12 | 4309 |
568 | 30분전에 준비된 소리가... | 새내기 | 2001.04.10 | 4756 |
567 | 카즈오 사또 시몬(?)에 대해 알고싶습니다. 5 | 청년 | 2001.04.10 | 4205 |
566 | ☞ Ruck 애기가 나오길래. 2 | 서정실 | 2001.04.09 | 4800 |
565 | 무대용과 녹음용 악기의 차이?? 4 | 일랴나 | 2001.04.09 | 4274 |
564 | 유명악기에 대한 평이 엇갈리는건... 1 | 수 | 2001.04.09 | 4276 |
563 | 질문요. 1 | 방문객 2 | 2001.04.08 | 4171 |
562 | 가격대별 기타 사진(headstock, rosette, label) | 고정석 | 2001.04.08 | 6234 |
561 | 험프리, 밀레니움 모델, 경사진 앞판 디자인. | 서정실 | 2001.04.07 | 5328 |
560 | ☞ 군대에서 있었던 추억담~ 기타이야기^^;; | 딴따라~! | 2001.04.06 | 4739 |
559 | 군대에서 있었던 추억담~ 기타이야기^^;; | 정성민 | 2001.04.06 | 4892 |
558 | 나의 기타 | 수집걸 | 2001.04.06 | 4424 |
557 | 두분 의견 감사드립니다. | 길벗맨 | 2001.04.06 | 4529 |
556 | ☞ 가오리가 쓰는 기타가? | 왕초보 | 2001.04.05 | 4218 |
555 | 안토니오 마린 몬테로에 관한 나의 견해 | 길벗맨 | 2001.04.05 | 5071 |
554 | 세고비아의 기타. | 수 | 2001.04.05 | 4693 |
553 | 수제품을 구입하려는데... | 세고비아 | 2001.04.03 | 4357 |
552 | 정말 놀랬습니다 | 기타지존 | 2001.04.03 | 4533 |
551 | 30분후 기타 소리가 조아지는데... | 새내기 | 2001.04.02 | 4787 |
550 | ☞ ☞ ☞기타 사느라 장가 포기를 포기.... | 간절한 | 2001.04.01 | 4442 |
549 | 기타제작콩쿨은 아무도 .. | 방문객 | 2001.04.01 | 4469 |
548 | 국산기타와 외제기타 | 으랏차차 | 2001.03.31 | 5103 |
547 | 최근에 기타제작 콩쿨이 있었다는데.. | 방문객 | 2001.03.31 | 4244 |
546 | ☞ ☞ 정말 스페인에 가면 바로 살수..... | 간절한 | 2001.03.29 | 4194 |
545 | ☞ 몬테로 부쉐모델 | 명노창 | 2001.03.29 | 5085 |
544 | [초보]질문있습니다 | 기타치고시퍼 | 2001.03.29 | 4162 |
543 |
안녕하세요 ^^ 제 기타입니다
![]() |
나이스드림 | 2001.03.29 | 5081 |
542 | 몬테로 부쉐모델 쓰시는 분 안계시나요? | 간절한 | 2001.03.29 | 4289 |
541 | ☞ 기타 추천 | 수 | 2001.03.28 | 4541 |
540 | 기타 추천 바랍니다. 1 | 박재만 | 2001.03.28 | 4209 |
539 | ☞ ☞ ☞ ☞ 중국 사업 | 으랏차차 | 2001.03.27 | 4427 |
538 | 자잘한 상처들은 좋아요. | 수 | 2001.03.27 | 4731 |
537 | ☞ ☞ ☞ 앙...으랏차차님 이구나..... | 명노창 | 2001.03.26 | 4269 |
536 | ☞ ☞ 댐핏대용으로 쓸 수 있는것,,, | 명노창 | 2001.03.26 | 4607 |
535 | ☞ 내기타에 문제들..웅수님도 보셔요~ ^^ | 길손입니다. | 2001.03.26 | 4093 |
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Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5