Neck：Cedoro
Fingerboard：Ebony
Finish：Shellac
Tuning Machine：FUSTERO
String height：1string　3.0mm/6string　4.0mm

[Profile]
Bernd Martin (1954 Stuttgart, Germany - 2018 Granada, Spain) was familiar with piano and guitar playing from an early age and was learning to be a guitarist, but when he was exposed to the virtuoso David Russell's playing, he was fascinated by the tone of the Torres used by Russell and decided to become a guitar maker. In 1976, at the age of 22, he went to Granada, Spain, where he learned the basics of guitar making under the supervision of Eduardo Ferrer in the workshops of Antonio Duran Ferrer and Jose Lopez Bellido. He also opened a small workshop in the Albaicín district, influenced by Antonio Marin, a master craftsman who had just started his own workshop at the time.
Bernd Martín said, 'The sound of the guitar should be clear, deep, transparent, and clean. My goal is to create an instrument that has a penetrating sound and sings with grace.' Above all, he emphasizes that the builder and the player should enlighten each other.
His guitars are the result of an exquisite fusion of German craftsmanship and Spanish generosity and musicality, and have achieved an extremely high degree of perfection. In 2006, his son, Lucas Martín (1984-), joined the workshop and continued to ship high quality guitars until his sad passing in 2018 at the age of 64. He was the first 'foreign' maker in Granada and the one who helped Granada become a cosmopolitan place for guitar making. His guitars are unique in that they have a solid acoustic structure, but with the airy, bright sound of Antonio Marin, and they have gained popularity in Japan.

[Description]
We are pleased to announce the arrival of Bernd Martín's No. 202, made in 1996, a piece that can be considered a period of exploration before he won an international competition in 1999, where he created a fascinating instrument based on Antonio de Torres, whom he admired. The low resonance setting gives the bass a deep and expansive sound, and compared to his later guitars, it has a sweet romantic tone that is very appealing. The sound is more straightforward than his later guitars, and is closer to traditional Spanish guitars. He has grasped the essence of the Spanish guitar, and his expressive power is very rich.
The sound board is scratched due to being played a lot, and there are some cracks repaired on both shoulders of the back, but they have been properly taken care of. This is a lovely mid-period piece by the first foreign maker of the Granada School.



Performance video