JUAN OROZCO: DEALER OR LUTHIER?

Pictures of Juan Orozco (source: wikipedia)

2011-07-02T05:11:00.000-07:00

Juan Orozco in his workshop with Erundi vom Duo Los Indios Tabajaras

New York City, April 1979 on a reception for Andrés Segovia.

v.l.n.r: Victoria de los Ángeles, Andrés Segovia, Juan Orozco

and his wife Reneé Orozco.

2011-07-02T05:03:00.001-07:00

Juan Orozco in his workshop talking to a member of Los Indios Tabbajarros

New York City, April 1979 at a reception for Andrés Segovia. v.l.n.r:
Victoria de los Ángeles, Andrés Segovia, Juan Orozco und seine Frau
Reneé Orozco

LATEST ADDITIONS / ARTESANO / ARANJUEZ

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Nathan Cragg on a Juan Orozco guitar

On this youtube movie Nathan is most likely playing a model 15

Juan Orozco guitar judging by the tuning knobs in combination

with the ebony fingerboard and the slightly slanted short sides

of the bridge where the strings are attached.

This is a link so you can immediately go to this version of

Classical Gas by clicking on the underlined text.

My comments on this video are the following: Of course guitars

never can be judged on the sound of a youtube movie as in my

expirience the Orozco guitars are more dark sounding, almost

pianolike the way the Kohno's from that period do sound.

Nathan plays with his right hand more towards the bridge than I

should do but that is personally of course but it affects the sound

in being more treble like.

New information about Juan Orozco's
moves in Japan during the seventies

Around 1969 the first Japanese company Aria guitars arrived in the United States. Orozco is so impressed by the high quality that he booked a trip to Japan with the aim to have his high end classical guitars produced there for his shop. Three days before the trip, a customer enters his shop and asks for new strings for his guitar. That guitar was produced in Japan, and on its' label the name "Kohno" is written. Mr. Orozco is again impressed by the quality of that guitar. He writes down the address that is on that label.Without speaking a word of Japanese, Orozco visites a few days later Kohno. The two become friends. Kohno used henceforth Aranjuez strings on his guitars and is selling them in Japan as well. Orozco exchanged valuable expertise with Kohno at that time from which later the best classical guitars of the time emerged.During this trip to Japan Orozco also participates in an exciting experiment in which the sound characteristics of 15 guitars are compared with each other blindly, including instruments of Fleta, Hermann Hauser, Jose Ramirez and Kohno. This comparison confirmed Mr. Orozco that he has to collaborate with Mr. Kohno.
1976 - Mass HiradeOn another trip to Japan 1976, the Spanish guitar-maker meets Hirade Mass., who at this time for several years contributed to his great guitar expertise to make the company Takamine to international success. Orozco acquires the original machines and devices that Hirade used for the construction of its prestigious concert guitars. Until today they are in possession of Juan Orozco, now in Puerto Rico.1977 - Orozco guitars - forerunner of today's guitars ArtesanoIn the years 1977 to 1981 Mr. Orozco began importing prefabricated high-quality guitars, according to his specifications from Japan where he had an office in Tokyo as well. Probably he then refined them in his own workshop though I do have my doubt about this. The factory, which takes care of basic guitars, Hoshino Gakki is the founder of Tama Drums. There are 120-130 precious guitars made in the month, of which 75 pieces each for Juan Orozco. Here is his most famous models are created with the numbers 8, 10 and 15. The other models are built for the production Kohno and Sakurai.Orozco guitars from this era are now collector's items. In 1980, the model will cost about 8 $ 280, Model 10 is available for around $ 450, and 15 for the top model with rosewood back and sides to be a musician back then 500 - spend $ 600.Today, the instruments, depending on the condition that be worth up to ten times.Orozco initially used a head profile in the style of Fleta, but later he added his own design, which bears the famous diamonds and are used again on the present produced Artesano guitars. The importer for Europe is Martin Meckbach. Typical for the instruments of that time are the slanted bridge sides, the roses engraved tuners, the thickening around the soundhole and last but not least, the unique wood inlay around the sound hole, the so-called rosette. (See Artesano website of Martin Meckbach)The question whether they produced in this workshop in Nagoya guitarsfor Kohno and Sakurai is still subject of debate, and there is no officialproof or statement about that link. It could also well be that they producedvery high-quality copies of Kohno guitars but never delivered any instrument toTokyo, but Orozco truly believed (or was told) that they did. Mr. johannes Orphal who provided me with lots of valuable information still is in close contact with Mr. Meckenbach. Mr. Meckbach could be the person to solve the mystery around the Kohno and Sakurai labelled guitars as he still is in close contact with Mr. Orozco.Aranjuez guitars

This guitar has been offered on E-bay in Japan and it is really interesting

to see its' label as that mentions: Takamine, Kohno and Aranjuez.

Further in this Blog the lines and connections between the different

firms are discussed but it was at the end of the seventies in Japan

very common to come up with Kohno copies. I just do not

know wether if this guitar has the lattice bracing but anyway rosewood

(laminated probably) sides and back. With many thanks to Dan

Linsey who lives in Japan and could be a valuable source of

information in the near future.

This instrument is a 1979 Aranjuez guitar that

has been signed on the label by Juan Orozco.

No reinforcement of the neck with two ebony strips

but with the later designed head by Mr. Orozco.

Many thanks to Kate Plews. Nice jewels

she makes as well! Google for Breodesigns.

As my blog is quite frequently visited I'm able

to make the story of Juan Orozco even more complete.

It is well known that the Aranjuez strings are a part

of Juan Orozco's business. I didn't knew that at the

end of the seventies Mr. Orozco also launched a serie

of Aranjuez guitars. Let's examine the different

parts and compare them to the guitars that have

an Orozco label.

A picture of the back that puzzles me a bit as the wood

doesn't seem to be indian rosewood. And probably this back

has been veneered. Compare it with the wood around

the label further presented here. On this picture you can

see a part of the neck that doesn't have the double

ebony striped reïnforcement.

We've seen allready Aranjuez guitars with a "Kohno" label

under licency of Takamine and this guitar bears the same

label but with the addition "Matsuoka". Probably made

only for the Japanese market as these pictures come

from the Yahoo Japan auction site. They have been

provided by Dan Lindsey who allready came up with

other additional and interesting information.

This guitar probably carries the same headstock as

the Aranjuez guitar presented here below.

Anyway, thanks again Dan!

A word about Matsuoka:

Unlike Matsumoku, the Ryoji Matsuoka guitar works

was a small scale guitar manufacturer with under 15 employees.

It is still in operation and sells low to mid-priced classical guitars.

The current operation is overseen by Ryoji’s son:

Toshiaki Matsuoka. The last that I have heard is that

Ryoji is still involved with the company and is the

chairman of the board.

For a few years during the 1960s and early 1970s ,
Matsuoka produced the higher end Aria guitar models for
Shiro Arai, founder of Aria . These Aria models either have
Ryoji Matsuoka's name on the label or are marked

RM with a red stamp on the neck block. Matsuoka
also made some models for Ibanez, including a few
steel string flattop and archtop models.

During the early 1970s, Matsuoka produced Fleta,
Hauser, Kohno and Rubio (David, not GV Rubio) models.
From 1975 to 1980 the company produced their own
line of guitars: the concert, artist and artisan series.

The Concert series includes the M20 ( lam spruce top,
nato neck), M30 (solid spruce top, mahogany neck),
M40 (solid spruce top, mahogany neck). All 3 models
have laminated rosewood back and sides and
rosewood fingerboards.

The Artist Series includes the M50 and M60. These guitars
have better quality spruce tops, laminated Jacaranda back
and sides, and ebony fingerboards

The Old World Artisan Series includes the M70 and M80,
which had a one-piece classic guitar neck and I believe
laminated rosewood back and sides.

During the 1980s and early 1990s, Matsuoka models included
the M300, MH200, M150, M100, M80 and M60.
I know that the M300, and MH 200 had solid

rosewood back and sides. I believe (but I am not sure)
that the M150 had solid rosewood back and sides.
The M80, and M60 had laminated rosewood back and sides

This picture shows us Kate's guitar that most

likely has been made out of veneered mahogany.

This head is supposed to be introduced in the eighties on the

Orozco models but it is allready present at this 1979 Aranjuez

guitar. The inner carving for the tuners differs from the Orozco

models in the way the the lower ends have been finished

square as opposed to the round finishing on the Orozco guitars.

Kate's guitar has a similar headshape and details.

The lay out of this label appears to be quite similar to the

Orozco labels of that time. The label has been stamped

and signed in blue ink. The number seems to follow the same

codes as the Orozco's. The wood around the label isn't that

striped as the outer back so I think it to be veneered as

was quite common on Japanese produced guitars of that time.

The back on the inside also seems to be slightly

varnished similar to the Orozco (and Kohno) models.

Because of the fact Kate's label differs

from the previous example in this chapter

I decided to publish it. I expect this Aranjuez

guitar to be laminated but I'm not sure

about it. It simply has a different number.

I think it to be a more modest model than the

the first posted label.

Another Rosette as well and of course not visible on this picture:

The soundhole reïnforcement also is there the way it has been

done on the Orozco guitars: About an inch wide and rounded.

I'm still curious wether if they followed the lattice bracing

for the soundboard. I will let you know as soon as we

found out more regarding this subject. Mr. Johannes Orphal

has an Orozco labelled guitar that has no lattice bracing!

A laminated top but still a handwritten Orozco label...

By looking at the bracing one must conclude it to be a

fan bracing which was not common on the high end models.

The endblock with several production markings.

Thanks to Johannes Orphal who provided me

with these pictures and has close contact with

Mr. Martin Meckenbach (Artesano site)

The picture above can be compared with the following one:

The same rosette. This is what Mr. Orphal tells us about his guitar:

What one can see is that the bracing is totally different from the

Kohno “lattice” bracing. It is an extremely simple 5 fan bracing,

with glue coming out at several places. There is also no horizontal

bar under the bridge, what I interpret that the top might be laminated.

Actually the top looks very different from the outside (I would say, cedar).

The inside layer looks more like spruce. One could imagine that this

is a flamenco guitar (the “F” in the label, and also the slot at the bridge

is rather low) but the back and sides are laminated rosewood,

so at best this would be a “negra” then.

One can also see that at the sound hole, the top “veneer” is not continued,

but that there is a yellow ring-type structure around the sound hole

(probably to hide the “sandwich”).

The rosette is beautiful and very probably hand made. Note that the

fingerboard is also rosewood and not ebony. There are no ebony

stripes at the back of the neck. The head is fully “Orozco” type

(already in 1977! in the catalogs etc., this headstock only appears

in 1979, until then the “Fleta” type headstock was always shown).

The back is also laminated but varnished also from the inside,

but again, no agreement at all between the outside appearance of the back

and the inside. At the end block, there is some writing in Japanese,

and numbers. The Spanish heel shows the data stamp: 770914.

In Nagoya, and at the time of Matsuoka, this indicates the production

date: Sept 14, 1977.

So this is a guitar from 1977 with Orozco headstock and label,

but laminated top and back, and a very simple bracing.

A nice shot of the rosette of Kate's guitar

that proves to be quite similar to the other Aranjuez.

The inner heel has been constructed in a same way they did
in the Orozco models 8 and 10. Also stamped in the same place.

Furthermore the inner lining appears to made of the same kind
of wood. I think it to be mahogany. Looking at the outer
ends of the soundhole you might be able to trace two layers
of wood: The soundboard and sticked on it from the inside:
The reïnforcement. The sound was descibed as being of really
high class. A comparision with a José Ramirez R2 and a
Bernabé guitar proved that this guitar was even better.

Many thanks for these contributions to Anthony Hermann.

Artesano Models:

Recently I got an E-mail from a company in Germany that

started a collaboration and are producing guitars again

under supervision of Juan Orozco. They had contact with him

several times and it is stunning to see that even at his age

he is still involved in guitar making one way or another.

You can registrate your (older) Orozco guitar there

and they are planning to start something like an Orozco

fanclub. I was honoured to put up the first Juan Orozco

guitar registrated. You can visit them at:

http://www.artesanoguitars.com/

Martin Meckbach from Musik-Meyer is the one to contact

for more information.

While the Juan Orozco company is situated in Puerto Rico. The company has the guitars under the name of Artesano produced in Spain. I'm not informed about the different models and/or

quality but I found the following information on the internet.

Juan Orozco represents a noted family of guitar-makers from Spain's province of Andalusia. He established his business in New York CityNew York City: see New York, city.

New York CityCity (pop., 2000: 8,008,278), southeastern New York, at the mouth of the Hudson River. The largest city in the U.S. ..... Click the link for more information. in 1965, and since then the firm has specialized in the manufacture of flamenco and classical guitars, including such noted guitars as a royal family of the Spanish guitar, Los Romeros, now performing with Aranjuez Strings from Juan Orozco, luthierlu·thi·er n.One that makes or repairs stringed instruments, such as violins.

[French, from luth, lute, from Old French lut; see lute1.]Noun 1. ..... Click the link for more information.. Aranjuez Strings, introduced in 1968, met with rapid acceptance in the U.S. and abroad. The company produces guitar cases under the name of Artesano hard-shell cases sold in the U.S. and overseas, and refinished in the 48,000-square-foot factory in Puerto RicoPuerto Rico (pwār`tō rē`kō), island (2005 est. pop. 3,917,000), 3,508 sq mi (9,086 sq km), West Indies, c.1,000 mi (1,610 km) SE of Miami, Fla. ..... Click the link for more information.. The company also has guitars under the name of Artesano Classical Guitars, which are made in Spain but refinished in Puerto Rico. Exclusive agencies: Auxtria--Rudolph Eltner, MusikinstrumentationGrosshandel, A-! 8750 Judenburg, Kassengrasse 25, Judenberg, Austria.--Aranjuez Brazil, Rua Voluntarios de Patria PATRIA. The country; the men of the neighborhood competent to serve on a jury; a jury. This word is nearly synonymous with pais. (.q.v.) 2353/61, Sao Paulo, Brazil. Finland--F-Mussikki Oy, Aleksanterinkatu 11, PO Box 260 SF-00101, Helsinki, Finland. France--Strings Music Import, 18 Rue Faillebin, 69100 Villeurbanne, France. Germany--Music Meyer, 355 Marburg, Lahn, Germany. Holland--Van Wouw B.V., Molenpad 13-17, Amsterdam C, Holland. Spain--Aranjuez Espana, C/Jesus Aranbarri, 38-442 V-32, 37003 Salamanca, Spain. Switzerland,. Warry, Case Postale 47, 1162 Saint-Prex, Switzerland. Sweden--Gitarren AB Skanstorget 10 S-411 22 Goteborg, Sweden. The company is also the exclusive U.S. distributor for Ricordi Americana. Refer to "Ricordi Americana" in the Publishers section.

OROZCO CORP., JUAN--P.O. Box 812, Maunabo, Puerto Rico Maunabo is a municipality of Puerto Rico located in the southeastern coast, northeast of Patillas and south of Yabucoa. Maunabo is spread over 8 wards and Maunabo Pueblo (The downtown area and the administrative center of the city). ..... Click the link for more information. 00707-0812. Telephone: (787) 861-1045. Fax: (787) 861-4122. Email: aranjuez@juanorozcoltdinc.com

The above mentioned information can be found on:

http://www.thefreelibrary.com/Music+%26+sound.-a0156652198

ARANJUEZ STRINGS

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GUITAR BAGS

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HISTORY OF JUAN OROZCO

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Juan Orozco is a Spanish luthier and guitar impressario, who lived in New York from 1965 to 1995, where he had a famous guitar shop in the 1970s to 1990's.
He is the third in a family of guitar makers (his father, Juan Orozco, built guitars in Spain, Uruguay and Brazil). He was actively involved in the development of classic guitars in the mid-1970ies (starting as early as 1969) together with great Japanese luthiers like Matsuoka, Tamura, and Yairi, who then developed guitars for Tama, Ibanez and Aria (at that time the small workshop where they worked was in the company Hoshino Gakki who own Tama and Ibanez). They also built guitars in the Kohno-Sakurai style (models #8, #10, #15) that were sold with the "Juan Orozco, Luthier" label. Later the Orozco guitars were equipped with a very characteristic headstock, different from the Fleta-style headstocks they had first.
Juan Orozco III is still active in the guitar business, in particular with the "Aranjuez" strings that he developed, but also with his guitar series "Artesano" (that are built today in Spain) and with guitar cases. He also organised guitar concerts and is well known by many great guitar players and luthiers.

Beneath are some pictures of the shop Juan Orozco runned in New York at West 56th street.
With many thanks to Roger Lian for providing them.

Also, if you had gone to the store on w56th street -

the first thing you would see when leaving was Carnegy Hall's

stage enterence, it was directly across the street. (Roger Lian)

IBANEZ / OROZCO 8 / KOHNO

2008-08-28T01:27:00.001-07:00

IBANEZ MASTERCRAFT SERIES

Also in these guitars the lattice bracing used in the

Orozco / Kohno / Sakurai guitars can be found!

That's why I've included this short Ibanez interlude.

This is the lattice bracing that can be found in an Ibanez
catalogue of the Masterclass series of 1980.
Clearly visible is that the headshape and the double
ebony reinforcement for the neck are also there!
It is a well known story that Tama produced the Artwood
steelstring series of that time but as can be seen here
the influence and production of Tama reaches further.
Further in this blog I made a rough design of this bracing
but I made it seen from outside so the one longer brace
comes under the higher strings in both cases!

Nice shot of the head so well known to the Orozco
and Kohno enthousiasts! Let's see what Robert Ruck
the American luthier who is very active in guitar research
too saus in an interview regarding this subject:

"I was very impressed with Masaru Kohno's guitars.
The early ones were very Spanish inside and out,
but he developed a bracing system that was a huge
departure, an early lattice-style bracing.
He had a major cross brace under the soundhole,
and about 2" to 2" and ½" below that,
he had a very light cross brace.
This is somewhat similar to Fleta's two very strong cross braces.
Under the bridge, Kohno had a strap about the width of the
bridge and at least 1.5 mm thick that ran the entire
width of the top, and the fan braces were mitered over it.
It was like a symmetrical 8-fan-brace pattern, except he left off
the outer one on the bass side, so it was an offset 7-fan pattern.
Then, below the fan braces, instead of a closing V
he had another continuous cross brace.

One very rigid fan brace ran under the bass end of the bridge
and mortised over both the bridge strap and the lower cross bar.
The bracing looks like a grid and is very stiff,
but in some ways he frees the top.

Those Kohno guitars sound like pianos! They are very even,
with powerful trebles that sing up to the highest notes,
and much longer sustain than any Spanish-style instrument."
(With many thanks to Johannes Orphal who sent me this
attribution)

Ibanez Classical guitar 2858

This guitar came to me in an auction and because of the

fact it only had one string we were able to investigate

the bracing of the soundboard. That's the reason why

I publish these pictures. It is widely known that de TAMA

factories produced the later Ibanez Artwood series which

are known for their outstanding qualities.

The Tama guitars and especially the dreadnought

ones are becoming a myth in itself!

The Ibanez series start with the 2850 though from

the 2860 model the instruments were supplied with an

ebony fingerboard. The cheapest guitars in this serie had

plywood tops, comparable to the later GA 60 Ibanez

models. Even those guitars are worth every penny.

By clicking on this picture you can easily determine the solid
top. Though the fingerboard is very dark indeed it is in fact
a rosewood one. All TAMA guitars, even the most expensive ones
had veneered sides and back but remember that Ramirez did
the same thing on their topmodel, the A1.
So this Ibanez has veneered sides and back as well.
The odd thing is that the inner veneer layer is also
made out of rosewood!

The back of this Ibanez guitar immediately shows us the lack of the
two ebony stripes that are placed in the neck as a
reinforcement as was done on the Orozco, Kohno and
Sakurai instruments.

A nice shot of the rozette that betrays its' exquisite
workmanship! The quality of building
is allmost flawless.

Also interesting is to compare the tuners on this guitar with the ones
on the TAMA, Orozco, Kohno and Sakurai examples:
No roses here! But very smoothly working.

The veneered head in the Ramirez style.
Dimensions are very close to the original as
I'm in the posession of a 1981 clase 1A Ramirez.

A nice shot of the sides that are bookmatched.

And of course the label that states this instrument
has been manufactured in Japan.

Ibanez Andorra 2857

Another example out of the Andorra series that

bears model number 2857. The headshape differs

from the Ramirez headshape of the model 2858 but

again the lattice bracing is there and workmanship

also on this guitar is immaculate. Remember that these

guitars were priced at DM 518,- back in 1976.

This one is a real early one: 1974 as the first two

digits on the heelblock states.

What surprised me was that the neck of this Andorra

series Ibanez was equipped with a double ebony neck

reinforcement as has been done on the Orozco's a.o.

Another remarkable feature are the small sides of the

bridge where the strings are attached: Slanted as

was the model Tama used on most of their classical

guitar models. Small detail but significant.

In fact this is the most interesting part as this bracing

has been taken from my Orozco model 10.

We were able to compare this bracing with the

bracing in this Ibanez labelled instrument.

Exactly the same, so no fan bracing as

José Ramirez did. The thickening around the soundhole

is visible in my drawing but also on the picture above!

With many thanks to Joris de Baat who took these pictures

we are able to see the side under the higher strings (pitch)

And these braces can be found under the bass side.

Joris thinks it to be a kind of reverse fan bracing but I don't

agree with him. All braces are placed parallel to each other.

We call it a lattice bracing

Joris even made a panoramic view of the bracing

that is written in my mind so it was easy to conclude

that alongside some other features this guitar

must have been produced in the TAMA factory as well.

MASARU KOHNO.

The comments at the end of this message states that there are no

connections between Kohno and the copies made in Japan

by the Tama factory. Juan Orozco puts it another way:

He talks about a collaboration between
Kohno, Sakurai and himself in developing a guitar for the

worldmarket that either had a Kohno, Sakurai or

Orozco label sticked inside.

At the end of the seventies when I was studying classical guitar
some students came up with either an Orozco or a Kohno supplied by
the same distributor.
These guitars appeared at the same time which can't be a coincidence
having read lots of other stories.

The only Ryoji Matsuoka - Masaru Kohno connection that I know of is that during the 1970s Ryoji Matsuoka sold a classical model that was a very good copy of a high end Kohno model 50. I owned one --- it was a great playing and sounding guitar. The guitar had Kohno’s trademark double ebony neck support. Kohno copies were popular in Japan after Masaru Kohno won the gold medal in lutherie at the 1967 Liege Concours National des Guitars / Queen Elisabeth International Music competition in Belgium. Robert Bouchet was one of the Jurors. A couple of other Nagoya guitar makers, including Tama, sold a Kohno copy with the double ebony neck support. Juan Orozco of New York also sold a Japanese Kohno copy guitar under the Orozco label. You will sometimes see these instruments for sale on ebay, but beware as some ebay sellers will purport that these guitars were made at the Kohno workshop or under contract with Kohno. According to Masaki Sakurai, Masaru Kohno’s nephew and successor, they were most definitely not made at the Kohno workshop and have no connection with Kohno-Sakurai guitars.

MAIL CONTACT

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Dear Noud:

I began purchasing guitars from Orozco about 1980 and he no longer had too many of the good Japanese models. There was a model 10 from Japan and a model 10 from Spain. The Spanish guitar, built like a 1a, was a better instrument. The Japanese instruments were stronger and require more time to achieve their "final" tone so it is quite reasonable that those guitars, built similarly to Kohno, are now sounding quite nicely.

I had a luthier friend who toured Japan in the late 1970s. He visited the Tama factory where he noticed the Sakurai guitars being made. He drew the conclusion that the Sakurai (and also the Orozco guitars) were all being made there by a very skilled factory work force which made wide variety of instruments, including drums.

Fretfully Roger Thurman, Thurman Guitar & Violin Repair

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I believe Juan Orozco 's father made guitars in Madrid because my friend Felix Manzanero has a Juan Orozco guitar made in 1950 in Madrid. I don't really have any direct information on the guitars that Juan Orozco's son (I assume it was his son) sold in the 1970's. The last I heard was that Orozco was living in Puerto Rico.

Regards,Ron Fernandez

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Juan Orozco Guitar Repair Shop (718) 651-6023 7704 Woodside Ave Elmhurst, NY 11373
Hi Noud -- found this address, do not know if it is current.
I am going to do some research!

Regards, Harry

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About the Orozco -- I lived in New York City from 1957 until 1993 and was a frequent visitor to Juan Orozco's shop. A few years ago I tried to find info, but came up empty. Am I correct in assuming that Orozco is no longer in business or deceased? Unfortunately I have less information than you do about Sr. Orozco and the guitars he brought to the market. He sponsored a wonderful radio broadcast in New York during the late 1970's - early 1980's called 'Guitar Around the World' which aired on Sunday mornings and was an excellent program featuring archival and obscure recordings by the early twentieth century performers as well as new music performed by the (then) young lions of the guitar.

I know about Kohno and how he studied with Arcangel Fernandez in Madrid. I did not know he also studied with Fleta.In any case, the 1950 guitar I saw in Madrid of Juan Orozco senior was very good. As far as the Japanese Orozco Junior guitars, I have seen many and they were well made production Japanese guitars. From the 1970's there was also another good Japanese company named Matsuoka who made production guitars for a number of importers.I have imported 13,000 guitars from Spain since 1991, I was a supplier to Jose Ramirez for face wood in the 1980, and I begin importing fine Spanish guitars (Migule Rodriguez, Manuel de la Chica, Jose Ramirez, Marcelo Barbero Junior, Arcangel Fernandez, Juan Alvarez, Felix Manzanero) in the mid-1960's. I have seen a lot of classical guitars. One of my first teachers was Japanese who had lived in Brazil, Seiko Sesoko. He had studied with Emilio Pujol and Isaac Savio. Through Sesoko, I met several Japanese who were important in the guitar business including Shiro Arai, the owner of Aria. I had a brief contact with Orzoco through the mail and phone calls in the mid-1990's when he was involved with making guitar cases in Puerto Rico, and selling strings and books from Ricordi in Argentina.

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Ich lasse jetzt mal alles beiseite und rede nur über meine akustischen Gitarren: Für Aufnahmen verwende ich meine Orozco. Die ist von Juan Orozco, ursprünglich ein Gitarrenbauer aus Uruguay. Er hatte sich aber in New York niedergelassen und in der West 56th Street ein Geschäft eröffnet. Und dort habe ich auch diese Gitarre gekauft, es ist eine 1977er Orozco, eine der wenigen, die er exklusiv selbst gebaut hat. Und ich nehme noch heute mit dieser Orozco auf, für die Studioarbeit möchte ich ohnehin nichts anderes verwenden als eine akustische Gitarre.

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ABOUT THE OROZCO GUITAR:

It has a very special sound, very loud, clear, perfectly tuned, great basses, extremely long sustain. It is very different from the others I have, the Contreras and Picado sound a bit flat and thin compared to this one.

To the history: I bought it recently for a ridiculously low price (I cannot say how “much”, it is significantly less than what you would pay for a standard low-level guitar) in an online auction. The seller (very difficult to get some answers, I guess not a great dealer anyway, lots of negative evaluations) did not state what guitar it is although I asked a few times, no images, so I plaid poker and bought a guitar without knowing its brand or shape (I thought the hard case that was mentioned might be worth the buy already). Also, I thought a guitar in a hard case could be interesting. So I discovered the “J. Orozco” label first when opening the case (it was shipped just in the case by the standard mail – hopefully they did not leave it in the truck outside over night). Well, kind of surprise. My first impression was bad: the strings were totally rotten, some small impacts here and there on the table (but no scratches like from Flamenco). Also when I saw “Fabricada en Japon” I thought, god, this is some low-level thing, but I was a bit puzzled by the quality of the wood, the beautiful work, the nicely shaped headstock, the very nice rosette.

When then I installed new strings (d’Addario 45) I discovered how great it sounds. I am not such an expert but it is very interesting, and it is extremely easy to play, much easier than the Contreras. Great dynamic range, it can be very, very loud, but also very still, with great presence.

I have some ideas about its origin. Well, I got it from somebody here in France, and now I suppose it was purchased in Paris in the late 1970ies. On the catalogue page 05 you see that Juan Orozco also had an address in Paris (5 rue d’Edinbourg) – this is today a famous shop called “La Guitarreria”, THE shop in Paris for Spanish and other (French) high-level guitars. I will try to figure out when they sold these Orozco guitars, whether Orozco sold many of them in France, and why his name is on the catalogue with a Paris address. Besides, the guitar case is exactly similar to another case I have that is from France, too. In the case was also a little booklet with guitar notes for beginners, obviously from the 1970ies too, with many notes in French. I think somebody bought it here who was a beginner.

So this is certainly a guitar built in Japan, for a Spanish luthier who lived in New York, and that was sold for the first time in Paris. Wow: this is like “the red violin” for me, I never had something like this in my house.

Orozco is an interesting and intriguing person.

There was a Juan Orozco in 1953 in Bazil (http://www.parisbanchettiguitars.com/) who had worked with Santos Hernandez, so I think that was his father:
en una primera instancia y de forma suscinta puedo informarte que Juan Orozco fue un luthier español alumno en la materia de Santos Hernández. Emigró para Sud América hacia fines de los años cincuenta radicándose en Montevideo. Con una visión empresarial de su profesión decidió vender su marca y se generó asi una fábrica de guitarras Orozco (por eso lo de Ind. Urug.) que literalmente saturó el mercado, al punto que se conocen pocos instrumentos salidos directamentre de sus manos. Esta fábrica funcionó en un local de la calle Goes como consta en sus etiquetas. En esa época (años 60 - 70) existía una tienda de música (Casa Praos) localizada en la calle Ejido entre 18 y Colonia que era la que comercializaba directamente las guitarras Orozco. El luthier permaneció en Uruguay hasta promediar la década de 70 cuando partió para Brasil, residiendo en São Paulo y posteriormente se radicó en USA, donde se dedicó a la investigación en la fabricación de cuerdas creando la conocida marca "Aranjuez", hoy ampliamente conocida. Si mal no recuerdo Miami es la ciudad sede de esta fábrica, que luego del fallecimiento de su fundador fue y continua siendo administrada por su hijo. Hace algunos años tuve una guitarra de Orozco del año 1973 de la cual tenia fotos y datos que fueron perdidos cuando la placa de la computadora que tenia en la época se me quemó y perdí todos los archivos. Estos datos que mencioné fueron los que quedaron en el recuerdo, espero que por lo menos te den una idea sobre lo que querias saber http://www.delcamp.net/forum/es/viewtopic.php?f=15&t=7513 ).

Here is a crude translation made with google:
In the first instance and succinct way I can tell you that John Orozco was a luthier Spanish student in the art of Santos Hernandez. He emigrated to South America towards the end of the fifties was based in Montevideo. With an entrepreneurial vision of their profession decided to sell its brand and thus generated a factory guitar Orozco (hence of what Ind. Urug.) Literally saturated the market, to the point that few tools are known directamentre out of his hands. This factory operated in a local street Goes as stated on their labels. At that time (years 60 to 70) there was a music store (House Praos) located on the street between 18 and Ejido Cologne that was marketed directly to the guitars Orozco. The luthier remained in Uruguay until the mid 70's when it departed for Brazil, residing in Sao Paulo and later settled in the USA, where he devoted himself to research in the manufacture of ropes creating the brand "Aranjuez", now widely known. If I remember Miami is the host city for this factory, after the death of its founder was, and continues to be run by his son. Some years ago I had a guitar Orozco of the year 1973 of which had pictures and data that were lost when the plate from the computer that I had at the time I was burned and lost all files. These data have mentioned were the ones who stayed in the memory, I hope that you at least give an idea of what they wanted to know.

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His guitar shop in New York was THE place for guitars and guitar players in New York in the 1970ies (http://www.deflamenco.com/articulos/carlosmontoya/indexi.jsp http://bostonguitar.info/images/Vol5No1_1997Sept-Oct.pdf ) in the latter document they write
“I met Narciso Yepes for the first time in 1972, at Juan Orozco’s Guitar shop on West 56th Street which was the center of the guitar world in New York at that time.”

Juan Orozco (the father) also lived in Uruguay I saw on the WWW, and Juan Orozco (the son) has started very early to work on better strings (he was also involved in the “Luthier” strings that come from New York), and even Paco De Lucia uses these strings.

There is also a guy named Anthonio Bez who worked for him for ten years in Newy York, see http://www.taonote.com/Biography.htm

Finally there is a short text on the WWW (that was probably written by Orozco himself) and that fits with all this information:
Juan Orozco represents a noted family of guitar makers from Spain's province of Andalusia. He established his business in New York City in 1965, and since then the firm has specialized in the manufacture of flamenco and classical guitars, including such noted guitars as a royal family of the Spanish guitar, Los Romeros, now performing with Aranjuez Strings from Juan Orozco, luthier. Aranjuez Strings, introduced in 1968, met with rapid acceptance in the U.S. and abroad. The company produces guitar cases under the name of Artesano hard-shell cases sold in the U.S. and overseas, and refinished in the 48,000-square-foot factory in Puerto Rico. The company also has guitars under the name of Artesano Classical Guitars, which are made in Spain but refinished in Puerto Rico.
(from http://goliath.ecnext.com/coms2/summary_0199-1200409_ITM )

I read several times that the Romeros played on Orozco guitars but possibly these were built by his father?

This is all exciting, I like that kind of stories.

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While surfing around on the WWW I found that the headstock of my guitar, and the rosette too, are similar also to the Matsuoka guitars of that time. It even seems that Matsuoka, in the period around 1977, produced guitars which were very similar to the Kohno-Sakurai guitars. Actually, in the email that J. Orozco wrote to you, he writes also (in the first place) about Matsuoka (he writes “Matzuoka”).

What I think now is that these luthiers who worked for Tama/Ibanez, Aria etc. also produced some of the Kohno-Sakurai guitars (of course Sakurai would probably never say that this is true since this was a different atelier), and so they had different models, the Kohno style (they built 40 of them per month!), the Sakurai style (35 per month), and not less than 100 per month (I don’t think that J. Orozco had a wrong number in mind) for him under his label, probably most of them as #8, #10 or #15 models. However I did not find any of these models before 1978 until now. I think actually my guitar comes from this workshop as well, and might have been one of the earlier ones, with a headstock designed by Orozco together with Matsuoka (note also that he did never say that he worked with Kohno or Sakurai, and that Sakurai only said that “the Orozco guitars were not built in the Kohno ateliers”). One reason is that it has the same ink used for the serial number, the other reason is the similarity of headstock and rosette with the other models. And finally, inside of my guitar, on the neck is the date stamped, 770914, and I saw today on ebay (where is Matsuoka No. 30 from 1978) that also has the production data on the base of the neck, 780314 (the link is http://cgi.ebay.fr/ws/eBayISAPI.dll?ViewItem&rd=1&item=190203979328&ssPageName=STRK:MEWA:IT&ih=009). On your guitar there is no date on the back of the neck.

So what I think is that the guitar was either made by Matsuoka, or (at least partly) by Orozco because of the headstock, but in the latter case very certainly with material from the Japanese. The point is that the Japanese (under leadership of Matsuoka) did not use the Orozco headstock in this time. J. Orozco wrote to you “The only thing is that in the last years that we did this together,I've accomplish that they put my head design on the Guitars that would come with my name.” so I suppose that the earlier models were all with the “Fleta” style headstock.

Anyway there was a very clear link between Orozco and Matsuoka, and directly or indirectly with Kohno-Sakurai. The latter probably did not produce guitars for Orozco but accepted that they produced guitars with their plans both for them and also for Orozco. He must have been a very clever business man.

He has also built guitars himself, for sure, not only because of the picture on the catalogue in 1984. He learned it from his father, for sure, and designed his own headstock (he probably built the first ones himself). There is also a famous Brazilian singer, “Joyce”, who bought a Juan Orozco guitar in 1977 in his shop (!) and said (in an interview in 2005) that this is one of the few guitars that he entirely built by himself in this time. I have written to her since she seems to know something about the guitars and the man.

Thank you a lot for the great pictures. Our guitars are really different, not only because of the headstock. I also think that the fingerboard is rosewood, not ebony (another link to the Matsuoka guitars). They probably had a huge choice of woods and other material. – Did you ever compare the inside with a real Kohno (the asymmetric bar in particular)?

I suppose the guitar shop in Paris had some Orozco guitars in stock and they possibly could not sell them for the high prices in the 1980ies (that was not a good time in France). Also then there were many cheaper guitars on the market, and the Spanish started to push very strongly with guitars in the same range.

Well, I think there should be a WWW page on the guitars, and also some information on J. Orozco himself. There is little information and he is certainly one of the great figures in classic guitar building in the 1970ies and 1980ies. There should be a few 1000 guitars around, but possibly half of them (or more) have been kept in bad conditions.

His “Aranjuez” strings are very, very famous.

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Juan Orozco III is still active in the guitar business, in particular with the "Aranjuez" strings that he developed, but also with his guitar series "Artesano" (that are built today in Spain) and with guitar cases. He also organised guitar concerts and is well known by many great guitar players and luthiers.

Yes, Juan is truly one of the great worldwide Impresarios of the guitar. When he offered my an endorsement in 2000 I was thrilled. This gentleman was the single person behind launching so many major guitarists of the last 40+ years, and so few people remember or recognize him.

Even many of the great guitarists that he helped have failed to embrace him as his business has diminished and he is now in his later years. Shame on them. I write for an American guitar publication called 20th century guitar here in NY. I have full intentions of doing a biography article of him in the summer. I believe that Soundboard did an article on him about 9 years ago as well. Perhaps you could find it in the Archives.His NY shops were the reason that classical guitar had a friendly home in NY thru the 1970's & 1980's. Today only a handfull of retail stores exist here, very few artists, and no Impresarios for the guitar. Regarding "Joyce" yes Juan did make a few guitars. I have never seen or played one, But he told me he was hoping to return to more building this year. Your guitar - Matsuoka is a possibility, as he told me he often dealt with that company selling them hard woods from South America. I do believe your guitar is Japanese. The Spanish imports were much more in the Valencia design, simple light construction with a bright, almost flamenco sound.

MATSUOKA

2008-08-28T01:26:00.003-07:00

Ryoji Matsuoka is a well known Japanese guitarmaker who has been producing guitars in Nagoya, Japan since the 1960s.

Nagoya is Japan’s 4th largest city and a major industrial port city located on the main island of Honshu in Aichi prefecture. The Nagoya/Aichi/Kani area (Kani is the prefecture next to Aichee) is one of Japan’s major musical instrument making centers. The city and the outlying areas have a long classical guitar making history with many small shops producing guitars.

Major guitar and violin makers include Matsumoku Industrial, Suzuki, Takaharu, Sada Yairi, Kazuo Yairi (Kani), Daion, Yamaki, Ibanez/Hoshino, and Ryoji Matsuoka. Additionally, there are numerous small guitar shops and factories that contract to larger firms, such as Yamaha in Hamamatsu.

Matsumoku (not to be confused with Matsuoka) was the largest guitar maker in Nagoya for many years, until it ceased operations in 1987. Matsumoku manufactured guitars and guitar parts for many well-known labels including Epiphone, Yamaha, Westone, Aria, Vantage, Ventura, Washburn, Greco, Lyle, Electra, and Skylark.

Unlike Matsumoku, the Ryoji Matsuoka guitar works was a small scale guitar manufacturer with under 15 employees. It is still in operation and sells low to mid-priced classical guitars. The current operation is overseen by Ryoji’s son: Toshiaki Matsuoka. The last that I have heard is that Ryoji is still involved with the company and is the chairman of the board.

For a few years during the 1960s and early 1970s , Matsuoka produced the higher end Aria guitar models for Shiro Arai, founder of Aria . These Aria models either have Ryoji Matsuoka's name on the label or are marked RM with a red stamp on the neck block. Matsuoka also made some models for Ibanez, including a few steel string flatop and archtop models.

During the early 1970s, Matsuoka produced Fleta, Hauser, Kohno and Rubio (David, not GV Rubio) models. From 1975 to 1980 the company produced their own line of guitars: the concert, artist and artisan series.The Concert series includes the M20 ( lam spruce top, nato neck), M30 (solid spruce top, mahogany neck), M40 (solid spruce top, mahogany neck). All 3 models have laminated rosewood back and sides and rosewood fingerboards.

The Artist Series includes the M50 and M60. These guitars have better quality spruce tops, laminated Jacaranda back and sides, and ebony fingerboards The Old World Artisan Series includes the M70 and M80, which had a one-piece classic guitar neck and I believe laminated rosewood back and sides.

During the 1980s and early 1990s, Matsuoka models included the M300, MH200, M150, M100, M80 and M60. I know that the M300, and MH 200 had solid rosewood back and sides. I believe (but I am not sure) that the M150 had solid rosewood back and sides. The M80, and M60 had laminated rosewood back and sides I recently saw a M150 in excellent condition sell for 85,000 Yen (US $740) on a Japanese guitar website, so your model probably has solid back and sides (or the person overpaid big time). The 10 string version of the M150 would be worth quite a bit more, possible double that amount, with a range of $600 to $1400 USD, depending upon condition and interest.Matsuoka currently produces guitars for Aranjuez (Orozco) and sells a low priced cosmetic copy of a Mathias Dammann classical guitar (does not follow actual Dammann construction) for about $1000 USD. Check out GSI for information on this model.

MODELS

2008-08-28T01:26:00.001-07:00

OROZCO PICTURES

2008-08-28T01:25:00.002-07:00

Guitar of Juan Orozco 1950, Madrid (Spain)

Manzanero collection.

Juan Orozco model 10 (1978 - Japan)

This picture shows us the number 10 model of Juan Orozco.

This guitar is from 1978 as the label states on another picture.

The head of this guitar that in fact is a copy of the
famous classical Fleta head. The same design can
be found on the TAMA, SAKURAI and KOHNO guitars
that were ment for the world market.
In the eighties Orozco decided to have another
head design on his guitars.

The back of the number 10 Juan Orozco that shows the

double ebony stripes in the neck. Same feature can be
found on the other guitars.

The rosette of this instrument.
In fact only the model 15 of Juan Orozco has a
spanish heel inside the soundbox. This instrument
hasn't got this feature.

Mr. Juan Orozco handsigned all his labels on
the 8, 10 and 15 models. I'm not sure he
also did this with his range of cheaper models.

Not really obvious on this picture but the models

8, 10 and 15 all have varnished backs: Not a real

high gloss but very well detactable.
The Kohno guitars are showing the same feature.

With many thanks to Joris de Baat who made these
pictures that shows a panoramic view of
the strutting of the soundboard.

As can be seen the strutting was very neatly done.

To my opinion the struts are placed parallel

to each other. This can play an important part

in claiming the Kohno guitars to be from these

luthiers or wether if the instrument was made by

Mr. Kohno himself. For this purpose: read what

Robert Ruck has to say in an interview regarding

the Kohno bracing: Under the Ibanez part in

this Blog or the following link:

(http://www.guitarsint.com/luthiers_bio.cfm/luthierid/72)

(With many thanks to Johannes Orphal)

The front page of a 1984 catalogue showing

the Orozco guitars of that time.

The newly designed head is there allready.

By clicking on this picture you are able to read the text.

Juan Orozco's three models: 8, 10 and 15.

The model 15 has been built with brazilian

rosewood however they are not allways

the best sounding instruments as I was

able to compare some guitars.

This picture gives us a view on the back of a model 15.

The pricelist at that time! Comparable with prices of

the José Ramirez clase 1A guitars the model 15 sold for

about half the price of the concert Ramirez model.

Juan Orozco Model 15

Thanks to Laurence Balmain who was asking me some

things regarding her Juan Orozco guitar model 15.

I'll include some of her pictures.

This picture clearly shows us the soundhole reinforcement.

Two layers are visible from the outside. The curve of the

reinforcement goes with the soundhole itself.

The side reinforcement which is supposed to be spanish tradition.

The beautiful woods used for the sides are visible here

though they do not match the much darker coloured

back which I specifically like.

Again the same lattice bracing that can be found

as well in the model 8 and 10 guitars.

A nice shot of the tuners with the engraved roses also

present on the model 8 and 10 Juan Orozco guitars.

The label that gives us the year of production as well as the

model number. The red stamp and the signature of

Juan Orozco in blue is there as well.

The double (ebony) reinforcement of the neck.

I've seen several model 15 Orozco's in the past but this

guitar has the beautiful dark Rio palissander the way I like it.

The guitar from the front shows us the guitar in good

condition as far as the pictures shows us.

And then of course the "Red Violon" story of Laurence:

"I contacted the Royal Albert Hall archives and in 1979
Paco de Lucia played with John McLaughlin and Larry Coryell
and also that year Manitas de Plata performed there.
But in 1980 there were no flamenco players or concerts
performed at the RAH. So this confirms that it was

definetely 79. The sound board of the guitar is not scratched or
damaged, so i'm wondering if may be Paco de Lucia had it
as a back up guitar but did not actually played it.
Possible as I read in your blog that he

did visit J. Orozco shop in New York and he did buy his
strings from there.

There are videos of this concert on you tube and I can
confirm that the guitar Paco is playing is different from mine,
the head is different, maybe you can have a look and
identify his guitar! But definitely not mine, shame!

You know, I've had this guitar for nearly 30 years now
and have never bothered to really look at it. I did play it a bit
at first but I'm no guitar expert and then I stopped playing
altogether. A shame really. Until now when my daughter
started to enquire about my mystery guitar!!
She started learning and wanted to play it.
And that's when I really discovered it and remember
its origin and unusual history.

It was in fact given to my ex-husband's boss who was
a music impressario and shop owner (in London) and
of swedish origin. The guitar was given to him
by the mysterious flamenco player. He then asked
my ex to sell it on his behalf. My ex didn't sell it
and the following year his boss sold his business
and went back to Sweden and he never heard
from him again and was left with the guitar which he then
gave me as I was playing classical guitar at the time".

PERSONAL MAIL FROM JUAN OROZCO

2008-08-28T01:25:00.001-07:00

Dear Mr. Noud Koevoets,

In reply to your email.

I'm a guitar maker, I get it from my father and grandfather. From 1969 to 1983 I did a lot's of business with the Japanese and put in a lot of work and time in the Japanese factory side by side with Matzuoka, Tamura, Yairi, Takamine,and Hoshino Gakkiten. I also help them design the guitar that has my name .The Kohno - Sakuray guitar we used to fabricate in a small shop in the company of Hoshino Gakki ten.

These company produced the acustic and electrical guitars on the name Ibanez and the main business is TAMA DRUMS. After we negotiated he decided it to produced the guitar Juan Orozco, in the same shop.This company used to make 175 Guitars a month, witch 100 of them were coming to Juan Orozco ,40 of them with the name of Kohno and 35 with the name Sakuray and just so you know they are the same Guitars, The only thing is that in the last years that we did this together,I've accomplish that they put my head design on the Guitars that would come with my name. Here you'll find 3 pages with the pictures of my Guitars. The model's we've design for me are the model # 8 - # 10 - # 15. One thing that you said that I thing is thru about the Ramirez guitar,because you're not the only one that say's that, I have many, many latter's with the same opinion you have about the Juan Orozco Guitars.
I've moved my company to Puerto Rico 10 years ago, to expand my business in the Aranjuez Guitar String's and the hard shell classical guitar cases,and very soon start to fabricated the same guitar that you now have in your hands.

Thank you very much you really don't know how much this means to me.I hope I've answer all your questions and if is any thing else, I'll be more than happy to help.

Have a great day.

Juan Orozco.
From Juan Orozco I.TO.DO. Inc.

PICTURES

2008-08-28T01:24:00.004-07:00

SOUNDHOLE REÏNFORCEMENT

2008-08-28T01:24:00.003-07:00

It is a misunderstanding that Tama / Orozco / Kohno /

Sakurai guitars are heavy built concluded by the

thickness of the top in the soundhole. This is just a reinforcement

ring of about 5 cm width. If you want to examine this

feature on your instrument just look at your

guitar the way the picture has been taken.

You will see two layers of solid spruce sticked onto

each other. By feeling the sound board with your fingers

in the direction of the sides you must be able to feel

the outer ensd of this thickening "ring".

TAMA GUITARS

2008-08-28T01:24:00.001-07:00

I've got a 1982 Kohno 30 that I've had since it was new. It was a great guitar new, but it's matured into a very, very nice guitar. I think these instruments are currently undervalued, and I've seen them used around $3500 several times over the past year or so. That's probably about half what they're worth. If John Williams played one this fall, the price would probably go up to about $10,000 practically overnight. The only thing that I wish I could change on my guitar is that it's 660 scale--I'd prefer 650 or even 640. I'va also got a Kenny Hill Hauser (USA) that's a 640 and it's a breeze to play, sounds great, and is plenty loud.

I have a price list from Dauphin Co. from April 1, 1982. It gives the following model information: Sakurai had the models 7, 10, 15, 20, these were re-named the 7, Standard, Excellent, and the Concert. They were made in the Kohno workshop under his supervision. "They are similar in all respects to the corresponding Kohno models". The model 20/Concert was the signature model. Prices at that time: 7, 780; 10, 1100; 15, 1560; and 20, 1800. The price list does not give any specifications on woods, etc. It is possible that Sakurai made other models that Dauphin didn't import or are not on the list as the Kohno models given are 20 (Concert), 30 (Professional), 50 (Special). I hope this answers some of your questions.

markhobson.net
This is the guitar that turned me into a real guitar player. When I first started playing I was very fortunate to begin with classical training. I bought this guitar (made by Tama) in the early 70's and it has been a friend ever since. It has solid rosewood sides and back and a very fine spruce top. With a nice wide neck and relatively tall action it is exactly what a classical player needs. It can produce tones that range from subtle to powerful and from harsh to warm. To play Bach on this guitar borders upon a metaphysical experience. Absolutely a wonderful instrument.