Instrument | Jose Ramirez III |
Category | Imported Flamenco Guitars 〔Vintage〕 |
Number/Model | 1a Flamenco MMstamp |
Scale length | 655mm |
Country | Spain |
Year | 1968Year |
Top | Ceder |
Side&Back | Cypress |
Condition※ | 7 |
List price | INQUIRE |
Price (tax included) | Please Inquire |
option | Super Light Case black |
Click to enlarge the photos below
Neck:Cedro
Fingerboard:Ebony
Finish:Polyurethan
Tuning Machine: WOOD PEGS
String height:1string 3.0mm/6string 3.5mm
[Profile]
Jose Ramirez is the most famous Spanish guitar brand in the world. This brand has even made the history of Spanish guitar making for more than a century since the era of Jose Ramirez I. In particular, the guitars produced during the era of Jose Ramirez III were both innovative and widely popular, and continued to attract guitar fans from all over the world.
The ceder is mainly adopted for the top, and the inside of the both sides is made of cypress, which is used in flamenco guitars, to create a double-layer structure. The string length is 664mm, which is longer than usual, and urea resin was used for the finish. These innovations made by Ramirez III on the classical guitar were truly original and had a great impact on later guitar making in general, and at the same time, the sweet, lustrous, romantic tone, known as the 'Ramirez-tone,' came to define the very image of the classical guitar.
[Description]
This is a flamenco model of Jose Ramirez III's flagship model '1A', made in 1968. This piece was made during the most productive period of Ramirez III's workshop (in terms of instrument quality). All the professional models that are shipped are stamped with the initials of the master builder, and this piece was made by Miguel Maro Martinez with the MM stamp.
This is a fine example of a Ramirez guitar from the 60's that has the responsiveness of a flamenco guitar and takes full advantage of the characteristics of cedar wood. The combination of cedar and cypress gives it a 'rich lightness' that is pleasant and shows the high level of quality of the workshops of this period. The sound is mellow but brilliant, with a wide range of expression, and can respond to subtle changes in touch.
There is a 10 cm repair history of a crack along the golpe board on the sound board, but it has been firmly reinforced from the inside. There are some other minor scratches and dents throughout, but considering the age of the instrument, it is in relatively good condition.