Neck:Mahogany
Fingerboard:Ebony
Finish(Top):Shellac
Finish(Back & Sides):Lacquer
Tuning Machines:Fustero
String Height(1st):2.7mm
String Height(6th):4.1mm

［Profile］
David Jose Rubio (1934–2000), born David Joseph Spink, was a pioneering figure in British classical guitar making. After early experiences in Spain—where he absorbed the traditions of makers such as Santos Hernández and Domingo Esteso—he established his workshop in New York in 1963.

His career gained international recognition when Julian Bream adopted his instruments, leading to a move back to the UK in 1967, where he continued building and later expanded into early instruments.

Guitars made personally by Rubio, particularly from this formative period, are rare and highly valued. His work is distinguished by refined craftsmanship and a unique tonal character combining clarity, density, and expressive depth.

［Instrument］
David Jose Rubio, 1971 (Used)
A signed example from Rubio himself, with his signature visible on the label (now worn) and also inside the top on the treble side. Built during a transitional period shortly after his return to the UK, this guitar reflects a shift from the brilliance of his New York period toward a fuller, more grounded tonal character.

The sound retains the clarity and projection often described—famously by Julian Bream—as “bell-like,” while introducing a thicker, more wood-rich response. The attack is quick and percussive, with a distinct immediacy that gives the impression of sound emerging ahead of the player’s touch. Individual notes are highly defined and consistent in strength, yet combine into a balanced harmonic field with strong spatial presence. Compared to Hauser-style instruments, the tonal concept is more “pianistic” in its clarity and independence of voices.

The bracing features a 7-fan layout with harmonic bars above and below the soundhole, along with a distinctive transverse element on the treble side influenced by Robert Bouchet, though adapted in a uniquely creative way. This contributes to the instrument’s characteristic overtone structure and projection. The top resonance is set approximately between F# and G.

The top is French polished, while the back and sides have been refinished in lacquer. There is visible playing wear throughout, including scratches and marks on the top and areas of finish wear and discoloration where the arm contacts the body. The back and sides also show signs of use, though there are no crack repairs. Overall structural condition remains good, with neck and frets in proper playing condition.

The neck has a slightly fuller but comfortable rounded D profile. Setup is good, with string height at 2.7 mm (1st string) and 4.1 mm (6th string) at the 12th fret, and adequate saddle height remaining. The tuners have been replaced with Fustero machines and function well.

A rare and musically compelling example from Rubio’s own hand, capturing a key moment in the evolution of his tonal concept.