338:, Manuel Caceras, Manuel González Contreras, Felix Manzanero, Manuel Rodriguez, Enrique Borreguero Marcos, Miguel Malo Martinez, José Romero, Ignacio M. Rozas, Mariano Tezanos and Pedro Contreras Valbuena, with many going on to establish their own workshops. Among his apprentices were Ramírez's own children, José IV (1953-2000), who undertook an apprenticeship from 1971 to 1977, and Amalia (1955- ), who had commenced her apprenticeship in 1976 before after its completion, leaving to become an astrologer. In 1979, the company sent a selection of its finest guitars to Segovia, from which he chose one made by José Ramírez IV.
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an efficient production basis where the apprentices using dedicated procedures did the basic tasks, which allowed more time for the qualified luthiers to undertake the difficult work. Prior to this, all fine-quality
Spanish guitars had been produced by individual luthiers which had resulted in small production levels. To increase production further, Ramírez purchased a building near Ventas, in which a large workshop was established which allowed production to rise to 1,000 hand-built guitars a year.
263:, the company had great difficulty in sourcing materials. These shortages encouraged José III, known as Pepé, who had formally joined the workshop in 1940, to experiment with non-traditional woods and design techniques. The younger José's love of innovation was often to the dismay of his father, who felt that the results would not be profitable. This led to frustrations with his father, as frequently he sold his work with little if any documentation as to the construction, the results, or the buyer.
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siblings' shares in the business. The business was very seasonal, as generally the guitars were only purchased at the end of the harvest season and at
Christmas when they were used by serenading groups. As a result, sufficient income had to be generated during these periods to pay the employees while made the guitars over the summer.
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Against his father's wishes, José Ramírez II (whose full formal name was José Simón Ramírez de
Galarreta y Pernías) left the business in 1904 when he was twenty to join a folk group on a planned two-year tour of South America. After touring Argentina, Chile and Uruguay, the group dissolved, and after
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Enrique Garcia (1868-1922), who began an apprenticeship with José Ramírez brothers in 1883, joined Manuel. The workshop took some time to attract customers, which led Manuel to bring in income by working for a period as an electrician for the Madrid
Electric Company, leaving the workshop in the hands
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In 1891 Manuel proposed to move to Paris and establish himself there, to which José offered his support. However, for unknown reasons, Manuel changed his plans, and decided instead to start his own workshop in Madrid, which would be in direct competition with his brother. This caused a lasting enmity
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José IV died of lung cancer in 2000, leaving Amalia to oversee the entire operation. As of 2010 this consists of a team of fourteen, including Amalia herself, four other guitar makers, and three apprentices. José IV's children José Enrique and
Cristina have been involved in the family business since
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In the 1960s, to cope with increasing demand, while retaining the original premises at Calle de la
Concepción Jerónimo nº 2 as a shop the company moved its workshop to Calle de General Margallo nº 10, and greatly expanded its number of employees in order to produce more guitars. Ramírez established
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pattern which most luthiers had adhered to since the mid-1800s. It was designed to have the power and projection needed to play solo concerts in large auditoriums, or to play with an orchestra, as well as to produce a fullness of tone, sweetness and a balance across the entire register. Both these
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In 1959, Manuel
Contreras (Madrid, 1926-1995) joined the workshop as a senior luthier and remained with them for three years, until he left to open his own guitar workshop. By 1960, Andrés Segovia was sufficiently impressed with José III's efforts to borrow his first Ramírez guitar and take it on
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then planned to open his own workshop, and even had labels printed, but changed his plans after Manuel's widow asked him to stay. Esteso left in 1917 to establish his own workshop, followed by
Hernandez in 1920. Borreguero continued working for Manuel's widow, who died in 1921, until the workshop
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While José made traditional broad shallow guitars in the style of his mentor
Gonzalez, with arched tops which produced a hard loud sound, Manuel differed in his style of guitar. He followed the ideas of Antonio Torres and came to be regarded as his successor, yet at the same time he inquisitively
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As high quality German spruce became difficult to source, and increasingly expensive, José III in 1965 introduced western red cedar on the soundboards of the company's 1a and 2a models, and convinced influential artists to use them. He also developed a new varnish that improved the sound quality
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visited Manuel with a request to rent a guitar for a concert. After hearing him play, Manuel gave him the guitar, which had been largely made by
Hernandez. Segovia used the guitar in concerts and on recordings from 1912 to 1937, and played it at his United States debut in New York's Town Hall in
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In 1988 Jose III passed control of the business to José IV and Amalia, who had returned in the same year to help her brother. A subsequent major restructuring resulted in the closure of the Ventas workshop in 1992, a reduction in the number of employees and concentrating at the General Margallo
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While José Ramírez never built anything other than traditional guitars, he built up a strong business that developed a number of luthiers, including his own son José Ramírez II (1885-1995) as well as Rafael Casana, Enrique Gracia, Julian Gómez Ramírez (1879-1943), who was no relation, Francisco
281:, with the help of his wife Angelita, was forced to take over the management of the business and for a time abandon making guitars himself. However, he continued to experiment, putting designs on paper to be built by his employees and supervising every phase of construction of the instruments.
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Two years after José Ramírez's death in 1923, José Ramírez II, by now married with two children, José Ramírez III and Alfredo, returned to Madrid. Until his return the workshop was managed by his senior luthiers, while his daughters and Jesús Martínez operated the shop. José II bought out his
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In 1895 Enrique Garcia left his position as Manuel's foreman to move to Barcelona to establish his own workshop. Manuel Ramirez subsequently hired Santos Hernandez (1873-1943) in about 1905 as foreman. By 1912, Manuel Ramírez had been appointed luthier to the National Conservatoire in Madrid.
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1929. These performances brought Manuel Ramírez's style of guitar and Hernandez's skill to the notice of other players. The guitar that Manuel Ramírez gave Segovia was later donated by Segovia's widow, Emilita, to the Metropolitan Museum of Art in New York, where it now resides.
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workshop on wholly handmade professional instruments, which reduced to production rate of 130 a year. They also contracted out the construction of their top-quality student instruments to other workshops, which were then delivered to Ramírez for final inspection and adjustment.
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Up until the early 1970s, the company's classical guitars were built with back and sides made of Brazilian rosewood. As high-quality Brazilian rosewood become scarcer and expensive, most of their classical guitars have since used Indian rosewood.
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José II moved away from his father's style of guitar to one closer to the style of his uncle Manuel. He introduced the simple elegant headstock that became a feature of the Ramírez brand. In 1929 a Ramírez guitar was awarded a gold medal at the
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between the brothers and they never spoke again. Manuel opened his workshop at Cava Baja nº 24, before relocating to Plaza de Santa Ana nº 5, and in 1897 to Calle Arlabán nº 10, where he remained until 1912, before moving next door to nº 11.
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A Ramírez hand-built classical guitar is typically made of 14,836 items, of which 438 are essential pieces which make up the structure of the instrument, while the rest are the myriad of little pieces that go into the decoration.
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José III worked closely with top performers, which brought acceptance to his innovations. Since they had first met in 1952, Segovia had encouraged him with constructive yet often brutal criticism to meet his exacting standards.
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In 1983, Jose Ramirez III designed the “Camara” guitar, with the intention of eliminating the “wolf notes.” It gave some positive results, for instance, the clarity of its sound was excellent for studio recordings.
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experimented and further developed Torres's ideas. As a result, he began producing guitars that had a lighter, delicate sound, that became popular within the flamenco community. As well as Enrique Garcia, among the
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innovations and many others are standard today. Ramírez went on to build more guitars for Segovia, which became his guitars of choice after having for the past 25 years used those made by Herman Hauser.
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tour with him. Made by Contreras, it incorporated Ramírez's latest ideas with a longer string length of 664 mm, larger body, and asymmetrical bracing, unlike the symmetrical
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Among the luthiers who were trained or worked for Ramírez Guitars during this period were Marcelo Barbero (1904-1956), Alfonso Benito and Manuel Rodriguez Fernandez (1926-2008).
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In the late 1980s the end of government export support and changes in Spain's tax structure led to a decrease in sales and the firm getting into financial difficulties.
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learned how to make guitars while an apprentice to Madrid guitar maker Francisco Gonzalez. Once he had finished his apprenticeship he left, and with his younger brother
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Among his innovations was to introduce western red cedar (Thuja plicata) for the soundboard of the guitar instead of the spruce that had been used up until then.
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Since José III had introduced it in the early 1960s, the company's top hand built model, the 1a or Primeria José IV, had been the rich slightly mellow-sounding
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José III died in 1995, his workshop having produced in his lifetime 20,000 hand-built guitars, nearly 30 to 40 times that of most of the company's competitors.
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and other makers to copy Manuel Ramírez's style of guitar. Segovia would later play Hauser's guitars until he returned to using a new Ramírez guitar in 1960.
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In the summer of 1995 Ramirez were unable to renew the lease on the original shop at Concepción Jerónima nº 2 and moved to Calle de la Paz nº8.
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Today the company offers, in addition to classical guitars, electro-acoustic guitars, solid-body electric guitars and flamenco instruments.
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In 1971 the sales shop was replaced by a larger shop at Concepción Jerónima 5, directly in front of the original establishment.
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José II's other son Alfredo, who was supportive of his brother's experiments, managed the administrative side of the business.
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316:. High-end professional models based on both of these extended-range guitars remain in the company's current catalogue.
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Manuel Ramírez died on 25 February 1916 before he could enjoy the benefits of his connection with Segovia.
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of Garcia. The business made violins as well. In 1893 Manuel won a medal at that year's Chicago Fair.
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In 1897, José Ramirez was awarded a gold medal for his guitars at the Logroño exposition.
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guitars. Five generations of the Ramírez family have produced Ramirez guitars.
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meeting his future wife, he took up residence as a guitarist in Buenos Aires.
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As Alfredo had died in 1954, following the death of José II in 1957,
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170:(1864-1916) opened a guitar making workshop in 1882 on Cava Baja in
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142:) is a Spanish manufacturer of professional, concert-quality
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Among the artists who have used the company's guitars are:
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Manuel was also regarded as am excellent maker of violins.
198:(1893-1969), who became his apprentice at the age of 12.
984:
José Ramirez - Luthier of Classical and Flamenco Guitars
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Ramírez recruited and trained many luthiers, among them
772:. New York: Hal Leonard Corporation. pp. 26–28.
654:. New York: Chartwell Books. 2011. pp. 250–253.
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Musical instrument manufacturing companies of Spain
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913:"Interview With Amalia Ramírez: Lady of the guitar"
119:
109:
97:
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61:
51:
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986:describes several members of the Ramírez dynasty.
851:"Guitar,1912: Workshop of Manuel Ramírez Spanish"
827:1001 Guitars to Dream of Playing Before You Die
652:Acoustic Guitars: The Illustrated Encyclopedia
1005:
770:The Art and Craft of Making Classical Guitars
706:"Historic Guitar Makers of the Madrid School"
8:
911:Suárez-Pajares, Javier (February 14, 2017).
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972:"Ramírez & Classical Design Evolution"
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795:"Santos Hernandez, Master Spanish Luthier"
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300:More radical still, in 1963 he built a
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829:. Sydney: Pier 9. pp. 60, 180.
259:During and in the aftermath of the
793:Greenberg, J. (October 18, 2015).
320:while offering better protection.
25:
875:Miklaucic, Tim (April 11, 2018).
797:. Zavaleta's La Casa de Guitarras
708:. Zavaleta's La Casa de Guitarras
254:Ibero-American Exposition of 1929
386:Notable users of Ramírez guitars
33:
935:"Camara Model | Mabolo Flowers"
593:On The Shadows' hit recording "
2617:Guitar manufacturing companies
704:Greenberg, J. (May 19, 2015).
232:Simplicio and Antonio Viudez.
1:
2593:steel-string acoustic guitars
915:. Guitar Salon International
879:. Guitar Salon International
853:. Metropolitan Museum of Art
825:Terry, Burrows, ed. (2013).
375:2006 and 2007 respectively.
221:finally closed around 1923.
67:; 142 years ago
877:"Luthier: Jose Ramirez III"
224:Segovia encouraged luthier
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768:Rodríguez, Manuel (2003).
356:José IV and Amalia Ramírez
2585:
279:José Ramírez III José III
190:that Manuel trained were
32:
1023:brands and manufacturers
485:Alexander-Sergei Ramírez
2622:Classical guitar makers
533:Classical guitar making
503:Víctor Monge Serranito
466:Christopher Parkening
2404:National Reso-Phonic
2316:National Reso-Phonic
1747:National Reso-Phonic
124:guitarrasramirez.com
742:. Guitarras Ramírez
310:eight-string guitar
56:Musical instruments
29:
604:Out of the Shadows
562:A Hard Day's Night
510:Kazuhito Yamashita
218:Modesto Borreguero
196:Modesto Borreguero
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2599:: Defunct company
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974:by George Gruhn;
836:978-1-7433-6912-8
737:"Company History"
661:978-0-7858-3571-4
601:, from the album
577:Sting in the Tail
559:, from the album
302:ten-string guitar
261:Spanish Civil War
136:Guitarras Ramírez
129:
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114:Classical guitars
28:Guitarras Ramírez
16:(Redirected from
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960:Official website
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208:In 1912 a young
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952:External links
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779:978-1423480358
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553:And I Love Her
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210:Andrés Segovia
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1242:Electric only
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1029:Acoustic only
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977:Guitar Player
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583:
579:
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574:On the album
571:
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564:
563:
558:
554:
551:On the song "
548:
545:
538:
534:
531:
530:
526:
521:
520:David Russell
518:
516:
515:Narciso Yepes
513:
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457:
456:Mike Oldfield
454:
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449:
447:
444:
442:
441:Mark Knopfler
439:
437:
436:Matthias Jabs
434:
432:
429:
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426:Robby Krieger
424:
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306:Narciso Yepes
303:
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159:Establishment
158:
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133:
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112:
108:
104:
100:
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79:
64:
60:
57:
54:
50:
47:
44:
40:
36:
31:
19:
2178:Harp guitars
2088:Rickenbacker
1815:Tom Anderson
1775:Rickenbacker
1584:and electric
1362:Gordon-Smith
1166:
1101:Joseph Lukes
975:
938:. Retrieved
929:
917:. Retrieved
881:. Retrieved
855:. Retrieved
845:
826:
799:. Retrieved
788:
769:
744:. Retrieved
710:. Retrieved
651:
602:
595:Guitar Tango
589:
575:
570:
560:
547:
446:Alex Lifeson
401:Charlie Byrd
389:
380:
377:
373:
370:
365:
361:
359:
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287:
283:
276:
268:
265:
258:
256:in Seville.
250:
246:
237:
234:
230:
223:
215:
207:
203:
200:
184:
180:
176:
164:José Ramírez
162:
135:
131:
130:
98:Headquarters
92:José Ramírez
42:Company type
2250:Del Vecchio
2118:Steinberger
1896:Del Vecchio
1870:instruments
1563:Valley Arts
1535:Steinberger
1461:Micro-Frets
1392:James Tyler
1076:Del Vecchio
1071:Conde Hnos.
599:The Shadows
557:The Beatles
506:Galina Vale
489:The Romeros
461:Roy Orbison
451:Hank Marvin
396:Chet Atkins
362:Tradicionel
2611:Categories
2568:Tanglewood
2553:Silvertone
2442:D'Angelico
2351:Tanglewood
2138:Tanglewood
2113:Silvertone
1989:Duesenberg
1984:Danelectro
1979:D'Angelico
1790:Silvertone
1631:Jay Turser
1621:Danelectro
1616:D'Angelico
1327:Electrical
1317:Duesenberg
1302:C.R. Alsip
1220:Tanglewood
1182:Santa Cruz
1066:Cole Clark
940:2022-04-04
615:References
580:(2010) by
476:Nate Najar
314:José Tomás
2589:classical
2437:Breedlove
2432:Blackbird
2235:Breedlove
2222:Mandolins
2158:Westfield
2060:Music Man
1849:Westfield
1601:B.C. Rich
1510:Ruokangas
1484:Music Man
1474:Motor Ave
1448:Matsumoku
1342:Fernandes
1307:D'Alegria
1287:Caparison
1061:Breedlove
1056:Blackbird
980:July 1983
883:March 10,
582:Scorpions
144:classical
2587:Include
2507:National
2457:Freshman
2414:Ukuleles
2374:Epiphone
2308:National
2260:Giannini
2255:Epiphone
2240:Collings
2103:Shergold
2098:Schecter
2093:Sadowsky
2083:Reverend
2019:Guyatone
1994:Eastwood
1901:Epiphone
1859:Zemaitis
1844:Washburn
1780:Schecter
1732:Larrivée
1691:Hagström
1666:Giannini
1661:Garrison
1646:Epiphone
1606:Collings
1582:Acoustic
1525:Shergold
1515:Sadowsky
1497:Reverend
1377:Heritage
1367:Guyatone
1347:Flaxwood
1322:Eastwood
1282:Campbell
1267:Bohemian
1215:Takamine
1162:RainSong
1147:Original
1139:National
1086:Freshman
919:March 7,
857:March 9,
801:March 9,
746:March 7,
712:March 9,
527:See also
366:Especial
188:luthiers
148:flamenco
110:Products
52:Industry
2573:Weymann
2543:Seagull
2515:Ovation
2462:Harmony
2427:Beltona
2384:Gretsch
2356:Weymann
2336:Seagull
2326:Ovation
2270:Harmony
2230:Beltona
2163:Westone
2065:Ovation
2014:G&L
1959:Antoria
1954:Alembic
1936:Weymann
1931:Tonante
1891:Deering
1839:Vintage
1832:Vester
1820:Tonante
1752:Orville
1696:Harmony
1686:Gretsch
1591:Antoria
1573:Westone
1466:Moniker
1456:Mayones
1427:Lindert
1387:Jackson
1357:G&L
1312:Diamond
1297:Charvel
1292:Chapman
1272:Brawley
1249:Alembic
1233:Weymann
1187:Seagull
1167:Ramírez
1152:Ovation
1129:Maestro
1051:Beltona
1036:Alvarez
607:(1962).
565:(1964).
481:Sabicas
154:History
140:Spanish
120:Website
88:Founder
70: (
62:Founded
46:Private
2563:Suzuki
2533:Petros
2525:Parker
2497:Martin
2487:Lichty
2482:Ibanez
2472:Hohner
2467:Höfner
2399:Martin
2379:Gibson
2346:Tacoma
2298:Martin
2285:Ibanez
2275:Hohner
2265:Gibson
2191:Martin
2186:Gibson
2153:Vigier
2143:Tobias
2133:Tagima
2128:Tacoma
2070:Parker
2044:Jolana
2039:Italia
2034:Ibanez
2029:Hohner
2024:Höfner
2009:Gibson
2004:Fender
1999:Farida
1946:Basses
1911:Ibanez
1906:Hohner
1878:Banjos
1854:Yamaha
1805:Taylor
1800:Tagima
1711:Ibanez
1706:Hohner
1701:Höfner
1671:Gibson
1656:Fender
1651:Farida
1568:Vigier
1550:Teisco
1530:Squier
1520:Samick
1489:Parker
1435:Line 6
1417:Kramer
1407:Kiesel
1397:Jolana
1382:Italia
1254:Bigsby
1225:Walden
1210:Tacoma
1205:Suzuki
1197:Stella
1157:Petros
1134:Martin
1119:Lichty
1046:Babicz
1041:Avalon
1021:Guitar
833:
776:
658:
294:Torres
172:Madrid
168:Manuel
78:Madrid
2558:Stagg
2548:Sigma
2538:Regal
2502:Maton
2389:Guild
2341:Stagg
2331:Regal
2290:Levin
2209:Levin
2201:Lutes
2148:Tokai
2123:Supro
2108:Sigma
1964:Blade
1926:Stagg
1825:Valco
1810:Tokai
1795:Stagg
1785:Sigma
1762:Penco
1737:Maton
1724:Klira
1681:Greco
1676:Godin
1545:Supro
1502:Robin
1479:Roman
1440:Lotus
1372:Hamer
1277:Burns
1262:Blade
1192:Sigma
1177:Regal
1111:Levin
1091:Furch
1081:Dobro
740:(PDF)
597:" by
555:" by
539:Notes
103:Spain
82:Spain
2591:and
2492:Luna
2477:Hora
2452:Dean
2422:Aria
2280:Hora
2245:Dean
1969:Cort
1886:Dean
1636:Dean
1611:Cort
1596:Aria
1540:Suhr
1422:Lado
1412:Koll
1402:Kent
1337:Fano
1124:Luna
1096:Hora
921:2019
885:2019
859:2019
831:ISBN
803:2019
774:ISBN
748:2019
714:2019
656:ISBN
312:for
304:for
146:and
72:1882
65:1882
2597:(†)
2528:(†)
2510:(†)
2394:Kay
2311:(†)
2293:(†)
2212:(†)
2168:Zon
2078:PRS
2073:(†)
1834:(†)
1828:(†)
1770:PRS
1765:(†)
1727:(†)
1719:(†)
1716:Kay
1641:Eko
1558:TYM
1553:(†)
1505:(†)
1492:(†)
1469:(†)
1451:(†)
1443:(†)
1430:(†)
1352:FGN
1332:ESP
1257:(†)
1228:(†)
1200:(†)
1142:(†)
1114:(†)
1106:Lâg
138:in
76:in
2613::
2595:–
893:^
867:^
811:^
756:^
722:^
670:^
623:^
80:,
2051:
1013:e
1006:t
999:v
943:.
923:.
887:.
861:.
839:.
805:.
782:.
750:.
716:.
664:.
584:.
134:(
74:)
20:)
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