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zaterdag 24 maart 2018

Hiroshi Tamura guitars / Real value of the Japanese guitars.

Hiroshi Tamura

Hiroshi Tamura and his brother were one of the best luthiers in Japanese history. Some experts say that they actually were the best Japanese luthier, who had collected many international awards for his works, even more than great Masaru Kohno.
This is a very high grade instrument, way better that many quite expensive guitars that you might have encountered in the past and considered as great.

His guitars produce a very characteristic to all Hiroshi Tamura guitars, truly Spanish, gentle and very seducing sound. Their guitars are very responsive. Trebles are sweet and clear, basses vibrant and colorful. All well balanced, at very good volume with great sustain. 

Real Value of Japanese Vintage Guitars
The key to understand value of vintage Japanese guitars is to acknowledge galloping devaluation of Japanese yen in 1960s & 1970s. This devaluation was somewhat slower in 1980s. The best measure of this devaluation is Starting Yearly Salary of Japanese College Graduate (SYSJCG).
SYSJCG in in 1965 was 19 600 yen, in 1969 – 34 600 yen, in 1970 39 200 yen, in 1972 – 62 300 yen, in 1975 79 200 yen, in 1977 121 200 yen and in 1980 - 163 000 yen.

During 1960s and most of 1970s model numbers of Japanese guitars were strictly interconnected with their prices in Japanese yen. In late 1970s and during following decades model numbers were no longer strictly associated with their prices. Many Japanese guitar makers introduced model names instead of model numbers. Others were still using model numbers with addition of letter abbreviations or other symbols.

The best and only logical approach while evaluating real value (real grade) of vintage Japanese guitar is to compare its price in Japanese yen with SYSJCG during the year guitar was made.

Any guitar priced 100 000 in 1970 (labelled usually as No10) would be priced 200 000 yen in 1975 (relabeled to No20 or 2000), 300 000 yen in 1977 (labelled as No3, No30 or 3000). Starting in 1977 Masaru Kohno introduced his model No50 priced at 500 000 (and likely model 40 ). Soon other famous Japanese luthiers did the same. By 1983-84 Kohno started to use model names instead numbers and was raising their prices as he was pleased. Naturally soon other great Master luthiers did the same.

Knowing all of that, you can bet on that Masaru Kohno No 50 made in 1982 is practically the same quality as Kohno No 15 made in 1972, or Kohno no 20 made in 1975 or Kohno No 30 made in 1977. This has been seriousy researched.

The lowest grade models currently made by Matsuoka workshop are M75 and MH75. They are commonly considered as “beginner guitars”. Matsuoka model M30 made in 1973 is simply far, far better instrument. It is naturally better than model M50 made in 1977, model 80 made in 1982 or model M100 made in 1990. At present, the highest grade Matsuoka models are M300 and MH300. They absolutely stand no chance in competition with model M150 made in 1975… or model M200 made in 1977.

It is very important to mention that if modern era luthiers are using 40 years old woods to make a classical guitar, its price is at least $8000.

E.g. a guitar from 1969 has very little in common with a model P50 distributed in US in mid 1970’s. In 1969 it was priced 50 000 yen, while average yearly salary of a Japanese college graduate was 34,600 yen. This salary in 1970 was 40000, but in 1975 it was 80 000. The same quality guitar by 1970 would labelled as P60, by 1972 as P80, by 1975 as P100.

In fact Yamaha model GC5 made in 1969 (until 1970) was built with solid Jacaranda (Brazilian Rosewood) b/s and also priced 50 000 yen. Many other luthiers were making their 50 000 yen models with solid straight grained Brazilian Rosewood. Masaru Kohno was making his model 5 with Indian Rosewood. There was no way that Hiroshi Tamura could sell his P50 guitars if they were of lower grade.

Most Hiroshi Tamura P series guitars distributed in US in 1970’s have developed a network of internal wrinkles within the finish. They often break at the very top and create a network of hair-like fissures. It must have been caused by light induced chemical degradation of at least one of the ingredients of the original lacquer.

(Source: Victor ? )

Presented here is my 1972 Hiroshi Tamura which is
an outstanding guitar soundwise. It resembles the
Kohno and Orozco models a bit in sound: Dark low
ends combined with sparkling higher notes. Good
workmanship. A solid fine grained cedar top and 
laminated sides and back but apparently with
Brasilian rosewood. Scale is 655 mm. Nut 52 mm.

Strange thing about this guitar is the distance between
each tuner: Not the most seen 35 mm but 39 mm and
besides that the topnut (maybe not original?) was made
out of some cheap plastic which is a disgrace of course
on a furthermore quality instrument like this. Both
topnut and bridgebone have been changed now to
ivory made examples. Ebony fingerboard. Nut 52 mm.

donderdag 11 juni 2015

Sound Examples / Eugene den Hoed

As most of you will know. A lot is constantly happening on
youtube but for some very nice sound examples you should
check: Eugene den Hoed - He plays his own compositions on
a Juan Orozco, I think model 8. Beautifully recorded and played!
We know each other well: He studied about at the same time
at the Tilburg conservatorium.

zondag 5 mei 2013

Pricelist / Numbering system

Prijslijst april 1982: 
van Wouw B.V.
Molenpad 13 – 17  Amsterdam C tel: 020 – 235153

JUAN OROZCO Luthier Gitaren

Model no. 54  :  Momenteel niet leverbaar

Model no. 56  :  Concertgitaar van Luzon-palissander, 
                                massief fichten bovenblad                       fl.  1135,-

Model no. 58  :  Uitgezocht massief fichten bovenblad.  
                               Massief Luzon palissander klankkast.  
                               Dubbele biezen aan achterblad.             fl.  1335,-

Model no. 8    :  Klankkast van Rio palissander, 
                               mahonie hals en fijnnervig massief       
                               fichten bovenblad.                                      fl.  2245,-                                                                                                                         

Model no. 10  :  Solisten instrument van geselecteerd 
                                Rio palissander, fijnnervig massief
                                bovenblad, mahonie hals met ebben
                                toets, in etui                                                 fl.  2665,-

Model no. 15  :  Speciaal solisten model van uitgezocht 
                                Jacaranda palissander. Prachtig massief
                                fichten bovenblad, hals van overjarig
                                mahonie met dubbele ebben biesscheiding,
                                voortreffelijk instrument.                         fl.  3835,-

At first we can make some comparisons between the entry 
(intermediate) level guitars and the models 8, 10 and 15.
Around 1982 the Dollar / Dutch Florin or Guilder was 100 / 220.
At the moment the Euro was introduced 100 Euros was 220 Dutch
Guilders. But it is allways difficult to make a reliable calculation.
A lot of people are comparing guitars of the seventies and eighties
with those of the present days.
Machinery took over a lot of time consuming steps in the production
process and surely something is happening when an instrument ages.

An interesting comparison pricewise however can be made between 
the guitars listed here above and the Jose Ramirez clase 1A guitars
that were listed at around fl. 6000,- at that time.

Model no. 54  :  Not available

Model no. 56  :  Concertguitar made from Luzon-rosewood, 
                                solid spruce top                                            fl.  1135,-

Model no. 58  :  Selected solid spruce top. Solid Luzon 
                                rosewood back and   sides. 
                                Double lined back.                                      fl.  1335,-

Model no. 8    :  Back and side of Rio rosewood, 
                               mahogany neck and fine grained
                               solid  top. (To my believe indian 
                               rosewood  has been used)                           fl.  2245,-                              

Model no. 10  :  Concert instrument from selected Rio 
                               rosewood, fine grained solid top,
                               mahogany neck with ebony fingerboard,
                               in case (As far as I can make my conclusions:
                               Indian rosewood)                                         fl.  2665,-

Model no. 15  :  Concert model of the highest quality: 
                               Jacaranda rosewood. Top quality spruce
                               top, neck made from aged mahogany
                               with a double ebony neck inlay.
                               ( First grade instrument)                            fl.  3835,-

Remember, not all the remarks made by this Dutch importer I can confirm. 
However, I tried to make the translation as close as possible to the original.
At that time fl. 2,20 was about 1 USD.

Lately Brian Graham came up with an earlier label and  an up until now
unknown model nr. 5! Probably made before the collaboration between
Juan Orozco, Mr. Kohno and the TAMA plant. It is a decently built
instrument but in quality not comparable with the model 8, 10 and 15.
I think it to be from the first half of the seventies. At that time the Japanese
had some problems with a good finishing of the outer end fretwork.
A mahogany bodied guitar with a veneered soundboard to my opinion.
Anyhow the label has that nice "older" appearance.


As the later Ibanez Artwood 1 series and before that the Tama batch
of guitars do carry a similar numbering I will explain the numbering
system though I'm sure it doesn't count for all TAMA guitars. But
you can rely on it after about 1975 / 76. And at least the 8 digit ones
follow this system to my believe. The Juan Orozco guitars, being made
in the Tama factory apparently follow the same system.


8                        03             24        104
last digit            Month     Day     104th instrument  
of the year        made that month 

This "example"  guitar was made in 1978 in March on the 24th
day of that month and is was the 104th instrument that month.

vrijdag 7 december 2012

The Orozco family from Valencia? / Juan Orozco senior

Juan Orozco is not from Valencia, nor his father. Though it is 
sometimes suggested that his family was part of Valencian con-
structors, that was not the case. Juan had a Valencian connection 
in that way that Juan was raised by his grandparents who lived 
near Valencia and where he met Cristobal Marí, the foreman of
guitar factory Telesforo Julve. Another link with Valencia is
Manuel Raimundo who produced the ArtesanoTM guitars 
exclusively for Juan Orozco when living in New York.

When I get some information from abroad that seems trust-
worthy, I will add it to my Blog but it is almost impossible
to check every story as one might be able to imagine.

It is great to get all kinds of mails from all over the world.
Some are unveiling new discoveries regarding the Orozco story
as Juan Orozco senior who was a good luthier as well also was
a business man who had his guitars factory produced in 
South America. Alass, I can't say that much about the tonal
qualities of these instruments but I will come up with some pics
of these guitars model 33 and 66 made in Montevideo, Urugay.

This a shot from the model 33 made in 1971. A fairly simple
instrument with a mahogany soundbox. I'm not sure wether if
this instrument has a solid top.

And another shot of its' label. By clicking 
on the picture,  you are able to enlarge it.

The guitar as a whole: Painted bridge and in fact mediocre 
fretwork about the same as most of the Japanese did in the 
beginning of the seventies and at the end of the sixties. 

The mahogany back that looks straight forward with
no purflings or whatsoever.

Presented here is the model 66 coming from E-bay.
This guitar allready is another story with apparently nice woods.
On the other hand the fretwork could have been done better!

The carved head the way the DiGiorgi guitars were done at that
time. And probably even ebony used for the fingerboard (???)
Many thanks to Paul Harned who made this part of the story possible

This picture makes it even more interesting as these woods 
used could be Brasilian rosewood. Nice, nice, nice....

The label and for the forcers under us, indeed: A fingerboard crack
though that won't affect the tone of an instrument that much.
Maybe the new owner will have contact with me in the near future.
I will keep everyone informed!

At this moment there must be 3 generations of guitar building 
luthiers with the name Orozco in existence: Juan Orozco I who
merely was active in South America. Besides being a luthier he
was a gifted salesman as well and a lot of guitars are around
with his label. The Juan Orozco II guitars have a different label
and most of them seems to have been produced in Japan in
the TAMA plants. However the label here above puzzles me
as this guitar seems to have been built for Robert Robinson
personally. He choosed the wood and it is apparent that the
back is made out of figured maple. Robert states that Juan 
Orozco ( I or II??) also delivered guitars to the Romeros, 3
quite famous guitarists from Spain. This guitar doesn't look
at all like his Japanese counterparts and appears to be high
quality. I hope Robert is able to deliver some more pics!
This guitar has been built in 1974.

zaterdag 2 juli 2011

Pictures of Juan Orozco (source: Artesano)

Family picture taken in Granada. On the right
the sister of Juan Orozco can be seen: Amalia.
The adults are his parents.

Juan Orozco busy in his atelier in New York.

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.

At the same reception with the artist Salvador Dali together
with Juan Orozco and his wife Renee Orozco. Taken
back in april 1979 taken at a reception for Andres Segovia.

ARTESANO: A trustworthy follower!

It should be noted that the pictures here above a partly
taken from the Artesano importer in Germany: "Meyer
Music". I had close contact with them for a while and
they have met Juan Orozco around 2000 in person.

They are working on an english version but under "Geschichte"
the history of the Juan Orozco company already can be found.

It should be noted that the Meyer music company makes a registration
of all the original Juan Orozco guitar owners that implies the by then
used factory name Aranjuez as well. Examples of the labels can be
found on their site once you have clicked on the head "Produkt

A lot of information can be found in the following
This part is only in French.

As for Artesano: I already stated that this brand was already 
introduced earlier while these in the USA imported guitars 
were made by the Raimundo factories in Valencia. Presented 
here is the label used at that time even signed by J. Orozco.

About the Aranjuez Strings: Just follow this link

donderdag 28 augustus 2008


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 guitars for Kohno and Sakurai is still subject of debate, and there is no official proof or statement about that link. It could also well be that they produced very high-quality copies of Kohno guitars but never delivered any instrument to Tokyo, 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 Aranjuez labelled guitar popped up on a yahoo market
and most likely was ment only for the domestic market. The
Fleta head, placed on the earlier Juan Orozco guitars is there!
The slanted sides of the bridge as well and while this guitar
has been built with an ebony fingerboard we think it to be
a higher end guitar.

Nicely decorated back but only one reinforcement stripe in the neck.
The knobs for the tuners are clinched which mostly is a sign of a higher
quality tuner. Again all parts are executed with craftsmanship.

This guitar has been offered on E-bay in Japan and it is really interesting
to see its' label as that mentions: Matsuoka and besides that " inspected
and built under supervision of Mr. Sakurai" . I allready saw a label that
mentioned: Takamine, Kohno and Aranjuez. and thanks again to Dan
Lindsey who is allways searching for new things in this topic to be
discovered. He has a Japanese girlfriend!

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.
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:
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:

The above mentioned information can be found on:

Presented here is a cutaway model from Artesano, the Sonata
which is not the highest model but a very decent sounding ex-
ample from this company. Though it should have been made
in Spain, the label says otherwise: "crafted in China" but it is
 is a finely made instrument and all in all a brand to look after.

This guitar has an under saddle pick up and I had
it here for repair as the strings frequently broke
because the contact surface with the bridge was
much too sharp. Moreover there was too much 
play on the bridgebone so I mounted a new one.
With many thanks to the owner: Albert Eerkens