Masaru Kohno Classical Guitars: What's the Truth?
John E. Golden
I am hoping to tap some of your brainpower to help settle some arguments
that occurred at our local Classical Guitar Society Meeting.
Another of our society members who also owns a Kohno Classical Guitar
again repeated what he was told when he purchased it more than twenty
years ago...that Masaru Kohno based his design on the Ramirez guitar, but
improved every aspect of the Ramirez. Whenever this gentleman says
this, I always say that this in not true -- that Mr. Kohno studied with
Arcangel Fernandez for six months in Spain before starting his own
guitar workshop back in Tokyo. Then, I always point out that my 1975
Kohno Model 10 has Soundboard Bracing which is closer to a parallel
bracing than to a traditional fan bracing -- nothing like the Ramirez
Bracing.
Then, another member of the society beats me down by saying that this
Kohno Bracing is like a 'fifties ' Ramirez and that Arcangel Fernandez
was a student of Ramirez, i. e., worked in the Ramirez Workshop before
starting his own Shop.
What's the truth?
Erudite answers only, please.
Regards,
John E. Golden
Comanc...@hotmail.com
Who gives a rat's ass?
Robert Crim
<johnis...@NOSPAMsbcglobal.net> wrote:
>Erudite answers only, please.
I'm not sure this would qualify as "erudite," but I have always
understood Kohno to have learned his craft in the shop of Ignacio
Fleta, and that the Kohno headstock was a tribute to his teacher.
Robert
Robert Crim
John Golden does.
R.
Tashi
> On Thu, 22 Feb 2007 03:12:38 GMT, "John E. Golden"
>
> >Erudite answers only, please.
>
> I'm not sure this would qualify as "erudite," but I have always
> understood Kohno to have learned his craft in the shop of Ignacio
> Fleta, and that the Kohno headstock was a tribute to his teacher.
>
> Robert
That's what I've always heard too.
MT
John E. Golden
Masaru Kohno (1926-1998) is not only the most important luthier to
emerge from Japan, but also one of the best worldwide. He was born in
Mito City, Japan, and in 1948 he graduated from the Tokyo College of
Arts and Crafts with a degree in woodcraft. It was during this time
that he became interested in guitar construction, and in 1960 he
traveled to Spain to learn the craft.
Kohno apprenticed for six months at the workshop of Arcángel Fernández,
and although neither could speak a word of the other's language, they
managed to communicate. Kohno's apprenticeship consisted mostly of
sitting in the back of the shop and quietly–-but attentively--observing
the master Fernández at work.
Kohno's quiet learning paid off. Upon his return to Tokyo he
established his own workshop and quickly gained recognition among
Japanese guitarists. His international debut came in 1967, when he was
awarded the Gold Medal at the Elizabeth's Concourse International Guitar
Building Competition in Belgium. On the judge’s panel were, among
others, Ignacio Fleta, Robert Bouchet, Joaquín Rodrigo, and Alirio Díaz.
Since then, many players of world renown have used Kohno guitars; among
them are Julian Bream, Oscar Gighlia, and Sharon Isbin, to name a few.
Mr. Kohno passed away in 1998.
Regards,
John E. Golden
John Nguyen
Masaru Kohno
Masaru Kohno is a leading Japanese classical guitar builder. A love
for art, and an education in woodcraft from the Tokyo College, led him
to an early interest in guitar-making. He studied in Barcelona with
Fleta and spent six months in the Madrid shop of Arcangel Fernandez in
1960. During the late sixties he set up his own workshop in Tokyo. He
developed his own "Torres" model which won him a world wide reputation
and the prestigious Queen Elizabeth prize for its tone. The
international demand for his instruments was met by modern factory
production similar to that of the Ramirez family. In the seventies
some of the best independent builders emerged as a result of their
training in the Kohno workshop.
Partially translated from this page:
http://216.19.69.190/classical/big5/luthier/asia/kohno/literature/intro.html
Cheers,
John
John E. Golden
Thank you. I hadn't heard about the Fleta connection before.
Regards,
John E. Golden
John E. Golden
John E. Golden
> Masaru Kohno
> Masaru Kohno is a leading Japanese classical guitar builder. A love
> for art, and an education in woodcraft from the Tokyo College, led him
> to an early interest in guitar-making. He studied in Barcelona with
> Fleta and spent six months in the Madrid shop of Arcangel Fernandez in
> 1960. During the late sixties he set up his own workshop in Tokyo. He
> developed his own "Torres" model which won him a world wide reputation
> and the prestigious Queen Elizabeth prize for its tone. The
> international demand for his instruments was met by modern factory
> production similar to that of the Ramirez family. In the seventies
> some of the best independent builders emerged as a result of their
> training in the Kohno workshop.
>
> Partially translated from this page:
>
> http://216.19.69.190/classical/big5/luthier/asia/kohno/literature/intro
> .html
>
> Cheers,
>
> John
Thank you very much.
Regards,
John E. Golden
JAS
A1 Ramirez.
The Fleta and Ramirez have similar beautiful tonal qualities, but the Kohno
tone is mostly like a H. C. Hauser.
That is, the bass and treble are very balanced, and the tone has a very pure
quality, more piano like.
My kohno has the lowest action of the three, so is easier to play. The
Ramirez is hardest to play.
It's all a matter of taste.
-JAS
"John E. Golden" <johnis...@NOSPAMsbcglobal.net> wrote in message
news:Xns98DEE1F312E52jo...@207.115.33.102...
bobby...@verizon.net
John E. Golden wrote:
> Dear Newsgroup Colleagues,
>
> I am hoping to tap some of your brainpower to help settle some arguments
> that occurred at our local Classical Guitar Society Meeting.
>
> Another of our society members who also owns a Kohno Classical Guitar
> again repeated what he was told when he purchased it more than twenty
> years ago...that Masaru Kohno based his design on the Ramirez guitar, but
> improved every aspect of the Ramirez.
>
> What's the truth?
John.
I don't know exactly "what is truth?", but I do know (and from Juan
Orosco himself) that all of the earlier Kohno guitars were actually
Orosco guitars with Kohno headstocks. I don't know exactly when that
stopped being the case, but if your friends guitar is more than 20
years old, as you say, it may very well be one of those.
I'm sure that Juan Orosco would be pleased to hear all the accolades
over "his" Kohnos - they were model for model exactly what he had been
making all along, and i don't think that the guitars with the Orosco
headstocks were nearly as famous.
I never saw all that much similarity between a Kohno and a Ramirez in
the way they either sounded or played, but, then again, I never really
made a study out of it.
best,
Bob Hansmann
Bobby B Productions
Chappaqua, NY, 10514
Benoīt Meulle-Stef
>>
> John Golden does.
>
> R.
Me too, I'm always interested in bracing patherns :-)
Ben
PS; I dont like rats, I prefer cats :-)
David Schramm
I have an article I can copy and send you that will help you. Email me off
the group and I'll send you a copy.
--
David Schramm
Clovis, CA
http://schrammguitars.com
http://onlineapprentice.com
Comanc...@hotmail.com
John Golden is an engineer with a guitar habit...nuff' said. It all
goes back to that Ingmar Bergaman film he didn't grasp and wanting to
say something erudite. Guitar makers are like parents, although a
family may have 10 children they are all different. I've never gave a
rat's ass what some classical guitar society dweeb thought in the
first place..I really avoided those needy fucks.
Che'
Che'
David Schramm
The article that has photos of the bracing as well as the history of Kohno
is in American Lutherie #62 http://www.luth.org
--
David Schramm
Clovis, CA
http://schrammguitars.com
http://onlineapprentice.com
"John E. Golden" <johnis...@NOSPAMsbcglobal.net> wrote in message
news:Xns98DEE1F312E52jo...@207.115.33.102...
John E. Golden
> On Feb 21, 9:22 pm, Robert Crim <fritzg...@earthlink.net> wrote:
>> On 21 Feb 2007 19:20:30 -0800, Comanchetr...@hotmail.com wrote:
Thanks for that brilliant analysis, Che' Che'. Now, I won't need a
psychiatrist to help fathom my motivations.
BTW, did you impress the other pervs on Hollywood and Vine?
Welcome back, Bozo.
Regards,
John E. Golden
Comanc...@hotmail.com
You're welcome.
>
> BTW, did you impress the other pervs on Hollywood and Vine?
That's Larry's corner.
>
> Welcome back, Bozo.
Let's not get testy over a Japanese guitar.
Che'
>
> Regards,
> John E. Golden- Hide quoted text -
>
> - Show quoted text -
ivyhil...@gmail.com
Ken Whisler
On Wednesday, February 21, 2007 at 9:12:38 PM UTC-6, John E. Golden wrote:
John
John E. Golden
when I wrote that the Kohno bracing is closer to a parallel bracing. In
fact, it is a grid.
Regards,
John E. Golden
John E. Golden
> I almost bought a Kohno in 1983, from a great classical shop in
Sides lined with Spanish Cypress) and a 1975 Kohno Model 10 (Cedar or
Hokkaido Spruce Soundboard [not sure which] and Indian Rosewood Back &
Sides).
They are both fine guitars.
It's taken me years to come to the conclusion that the Kohno is the
better guitar, at last with Savarez Alliance HT Strings. The trebles
are bright without a hint of sweetness and the Basses are Awesome and
DEEP.....a very serious sound indeed. Oh, and the salesman was correct
about the consistency of the tone from day-to-day.
Regards,
John E. Golden
dieuhuye...@gmail.com
Spruce top with Indian rosewood B/S. According to Guitar Salon International, the top comes from Kohno-Sakurai workshop but anyone knows if the bracing is exactly the same like the Kohno-Sakurai guitar?The sound is amazing. I'm Adan of Ramirez and do have a Ramirez 130 Anos but I like the sound of the Matsuoka better. Thanks ahead
Nate Najar
Steve Freides
at that time - perhaps it was just that they were new to the US?
-S-
rend...@gmail.com
i realy want to hear matsuoka 720 voice.. but i can't find anything about matsuoka 720 review on internet..
dsi1
>
> John Golden is an engineer with a guitar habit...nuff' said. It all
> goes back to that Ingmar Bergaman film he didn't grasp and wanting to
> say something erudite. Guitar makers are like parents, although a
> family may have 10 children they are all different. I've never gave a
> rat's ass what some classical guitar society dweeb thought in the
> first place..I really avoided those needy fucks.
>
> Che'
>
dsi1
>
> Speaking of Che, go see the movie Coco. There's some simple and beautiful
> Mexican guitar music in it. It's also the first cartoon I've seen where the
> cartoon characters' fingers are actually playing the right strings and
> frets!
>
> --
> Matt
Traditionally, the characters in cartoons are drawn with only 3 fingers and a thumb so you got a major problem right there. Coco is unusual in that it breaks from that tradition.
https://www.youtube.com/watch?v=8-fkmRaX0Wk
JPD
dsi1
>
> Bullrog.
A flaming giant bull? That's scary alright! This is pretty scary though.
https://www.youtube.com/watch?v=59PcB9X-5Ns
dsi1
>
> Aaahh! Right you are! I didn't know that.
>
> The guy in this video could have played some Black Sabbath instead!
>
> --
> Matt
Are you making fun of Tommy "Two-Fingers" Iommi? How dare you sir! :)
dsi1
>
> My strongest memory of Iommi is from learning one of his longer guitar
> solos for a student. It was interesting; very unique, and good; but, IIRC,
> it only required two fingers (maybe three, but definitely not the pinky)
> the whole way through.
>
> Now I see that he had accidentally chopped off the tips of fingers 2&3. So
> maybe he did use no. 4 more than I thought, although I do see several pics
> of no. 4 tucked away. It doesn't matter; I think the music he wanted to
> convey came through perfectly, resonating very strongly with millions of
> people.
>
> --
> Matt
Mr. Iommi was quite broken up about losing the middle and ring finger of his right hand. Luckily, one of his mates introduced him to the music of D. Reinhardt which inspired him to continue to play.
Had I been around to give him advice, I would have told him to quit playing lefty guitar and play as God intended - the right way. As it goes, he wanted to do things the hard way and played with plastic tips on his fingers. And the rest is rock n' roll history. Had he taken my advice, he might have wound up playing concerts in his bedroom on Youtube. :)
John Nguyen
> in regard to similar situations. It's just that switching handedness feels
> so weird when I imagine me doing it.
> > Had he taken my advice, he might have wound up playing concerts in his
> > bedroom on Youtube. :)
> >
>
>
> --
> Matt
Back then in the SVA, after a serious binge drinking a buddy and I discussed the possibility of losing fingers in the battle and how we could still play the guitar. We came up with a minimal requirement of one hand with two fingers and a thumb to play, although we might have to switch hand. The hand with no fingers would have a contraption to attach a pick, the other hand would use the thumb to guide and two other fingers to navigate the fret board. Thank god we didn't have to come to that scenario!!!!!
dsi1
>
>
> Back then in the SVA, after a serious binge drinking a buddy and I discussed the possibility of losing fingers in the battle and how we could still play the guitar. We came up with a minimal requirement of one hand with two fingers and a thumb to play, although we might have to switch hand. The hand with no fingers would have a contraption to attach a pick, the other hand would use the thumb to guide and two other fingers to navigate the fret board. Thank god we didn't have to come to that scenario!!!!!
If I was to lose some fingers, I'd ditch the guitar and play the piano. There was another kid in the hospital that was born with missing and fused fingers. He was a crackerjack piano player. He must have been around 13 years old and some kind of musical prodigy. I remember sitting next to him at the piano and watching while he played. The doctors had asked him for a demonstration and I got the catbird seat. He would hit the high note with the edge of his hand. That's a cool move even if you have all your fingers.
OTOH, it would be pretty tough to learn how to play the piano with missing fingers once one passes the age of twenty or so. Kids can adapt fairly well to these kinds of things but not so adults. Adults would be more interested in learning how to do things like dressing themselves and eating. That's the breaks.
scol...@gmail.com
> Dear Newsgroup Colleagues,
>
> I am hoping to tap some of your brainpower to help settle some arguments
> that occurred at our local Classical Guitar Society Meeting.
>
> Another of our society members who also owns a Kohno Classical Guitar
> again repeated what he was told when he purchased it more than twenty
> years ago...that Masaru Kohno based his design on the Ramirez guitar, but
> improved every aspect of the Ramirez. Whenever this gentleman says
> this, I always say that this in not true -- that Mr. Kohno studied with
> Arcangel Fernandez for six months in Spain before starting his own
> guitar workshop back in Tokyo. Then, I always point out that my 1975
> Kohno Model 10 has Soundboard Bracing which is closer to a parallel
> bracing than to a traditional fan bracing -- nothing like the Ramirez
> Bracing.
>
> Then, another member of the society beats me down by saying that this
> Kohno Bracing is like a 'fifties ' Ramirez and that Arcangel Fernandez
> was a student of Ramirez, i. e., worked in the Ramirez Workshop before
> starting his own Shop.
>
> What's the truth?
>
> Erudite answers only, please.
>
> Regards,
> John E. Golden
taes...@gmail.com
Does someone know how I can obtain a replacement set of machine heads for my 1973 M. Kohno, Model #8?
They are not standard, and I cannot seem to find anything that will work. The rollers are about 1.5 inches on center.
Thanks ever so much for any information you may have that can help.
Yours,
Richard Taesch - taes...@gmail.com
tom g
http://g-gotoh.com/international/product/35g1600.html
dsi1
https://www.savageclassical.com/product/gotoh-40g2000-classical-guitar-tuning-machines/
John
John R.
John Nguyen
>John R.
Andrew Schulman
Andrew
tom g
dsi1
https://www.amazon.com/photos/shared/7y0WslQbQSu3qmJtOpSUTg.LrCayR-JKqn2ef5u7Mn7U-