Neck：Cedro
Fingerboard：Ebony
Finish:Shellac
Tuning Machine：FUSTERO
String height：1string　3.6mm/6string　4.5mm

[Profile]
Born in the beautiful port city of A Coruña in the northwest of Spain, Pablo Sánchez Otero still operates his workshop there today. Originally studying architecture, he grew disillusioned with the static nature of drafting and became increasingly drawn to woodworking, particularly the tactile experience of working with wood. This newfound interest eventually led him to develop a deep affection for guitars.

After studying furniture design and woodworking at a local craft school, he attended a guitar-making summer course led by Jean Pierre Sardin in Barcelona in 2009, which cemented his decision to pursue instrument making professionally. He then studied violin and Renaissance lute making at the local art and crafts school until 2011.

In the summers of 2010 and 2012, he attended the Sigüenza workshop of the renowned José Luis Romaniños, where he was profoundly influenced by Romaniños' philosophy, as well as by Jaume Bosser and Stéphane Riss, who taught him about traditional Spanish guitar making and instrument restoration techniques.

To further refine his skills, he moved from Spain to Newark-on-Trent in Nottinghamshire, England, where he studied acoustic and electric guitar making under Adrian Lucas and James Lister. He then moved to Antwerp, Belgium, in 2013, where he completed a course in instrument restoration at the Escuela Internacional de Lutería de Amberes (ILSA) and taught at the school until 2019 while actively working on his craft.

Currently based in his hometown of A Coruña, Spain, Otero continues his work in both guitar making and restoration. His instruments reflect the meticulous attention to detail inherited from his master, Romaniños, combined with a sensibility for elegant design that brings out the unique qualities of the wood. His work is rooted in the traditional Spanish craftsmanship of Torres, but he incorporates a fresh, cross-over approach to the tonal qualities of his instruments, quietly standing out among Spain's young luthiers and earning praise both domestically and internationally.

In addition to his main Torres models, he also creates highly distinctive instruments such as bouzoukis, mandolins, ukuleles, and acoustic guitars.


[Description]
This 2025 Pablo Sánchez Otero Torres model, 'La Perdiz' #44, is a newly arrived creation. It is his flagship model, based on the 1888 Antonio de Torres SE114, with a subtly modern touch that gives it a fresh and unique personality. The name 'La Perdiz' comes from the Spanish name for the bird 'partridge,' inspired by the bird's-eye maple used for the back and sides, known in Spanish as ‘arce ojo de perdiz.’

The soundboard bracing structure features two harmonic bars on the neck side, one on the bridge side, thin reinforcement plates on both the high and low sides of the soundhole, and short braces placed diagonally along the curvature of the adjacent sides. Below the waist, there are seven symmetrical fan braces, with two closing bars arranged in a V-shape to support the ends. This configuration faithfully follows the design of Torres's SE114. The resonance is set just below F.

The tonal characteristics are closer to those of Romaniños rather than Torres, with an elastic, jumping response to the attack, and a natural depth in the soundbox that creates a rich, clear tone. The bass provides a solid foundation, transitioning into eloquent mid-bass and crisp, defined trebles. The balance between these frequencies is pleasant, producing a deep, chamber-like resonance with a natural polyphonic three-dimensionality. The tone is very appealing, with the characteristic silky texture of the bird’s-eye maple, and the classical aesthetic is simply outstanding. The dynamic range is capable of creating powerful waves, giving this guitar significant concert potential with the Spanish punch that characterizes it.

The finish is a delicate shellac coating that enhances the bright, noble appearance of the European spruce and bird’s-eye maple combination. The rosette and other intricate details feature natural designs, highlighting the colors and patterns of materials like oak, maple, walnut, poplar, and Lebanese cedar. The original head shape, with the trademark ginkgo leaf inlay on the back, and the beautiful Fustero tuners, complete the cohesive and attractive look of the instrument.

The neck has a thin D-shape, rounded off to the point where it feels almost round, offering a compact feel for the left hand. The action is set at 3.6/4.5mm (1st/6th string at the 12th fret), which is slightly higher, but the string tension is moderate, making it comfortable to play. There’s 2.5mm of saddle height left, and the guitar weighs 1.43 kg.