Neck:Cedro
Fingerboard:
Finish(Top):Shellac
Finish(Back & Sides):Shellac
Tuning Machines:Baker
String Height(1st):3.1mm
String Height(6th):4.0mm

[Luthier Information]

Jose Ramirez is one of the most iconic names in the history of Spanish classical guitar making. Founded in Madrid, Spain, the Ramirez dynasty spans over a century—from Jose Ramirez I (1858–1923) to the present Jose Ramirez V—cementing its reputation as one of the most influential workshops in the classical guitar world. Today, Ramirez guitars continue to be distributed and cherished worldwide.

Among the generations, the period of Jose Ramirez III (1922–1995) is especially revered. Often referred to as the 'Golden Age of Ramirez,' this era saw groundbreaking innovations that gained widespread popularity and captivated players and audiences alike. In the late 1950s and 1960s, master luthiers such as Paulino Bernabé and Mariano Tezanos played key roles in the workshop, helping establish a unique production system that balanced handcraftsmanship with larger-scale production—without sacrificing quality.

In 1964, Ramirez III introduced what would become the flagship model: the legendary '1A'. This model featured several radical departures from tradition:

Cedar tops (instead of the traditional spruce)

A deeper body

A double-sided structure with inner cypress linings

An extended 664mm scale length (standard is typically 650mm)

A transition from shellac to urea-based finishes, greatly increasing durability

Combined with a unique tonal character—sweet and resonant, famously called the 'Ramirez tone'—and its distinctive deep red finish, the 1A model became a cultural icon in classical guitar history.

These innovations not only met the needs of the time but also reshaped the identity of the classical guitar, setting a standard that influenced generations of makers.

His son, Jose Ramirez IV (1953–2000), began as an apprentice in the family workshop at age 18. By 1977, he was recognized as a full-fledged luthier, and in 1988, along with his sister Amalia, he assumed responsibility for running the brand. He expanded the company's reach by adapting to contemporary market needs—introducing student models, standardizing the 650mm scale, and more. Unfortunately, he passed away in 2000, only five years after his father.

Afterward, Amalia Ramirez took over leadership, focusing on modern product development, production management, and mentoring the next generation: Cristina and Jose Enrique, children of Ramirez IV. Both joined the workshop in 2006, with Cristina (a certified graphic designer and acoustician) leading marketing and Jose Enrique overseeing guitar production. Together, they continue the Ramirez legacy into the 21st century.

Guitars from the Ramirez III and IV periods—particularly those famously played by Andrés Segovia—remain highly sought after. Early models from the 1960s, with internal luthier initials, are especially prized among collectors and players alike.

[Instrument Information]

Jose Ramirez III – 1959 – Used

A rare and historically significant instrument from the early era of Jose Ramirez III, built just two years after the death of Ramirez II in 1957. This guitar was made at the beginning of what would become the Ramirez workshop's most prolific and influential period.

By 1959, the workshop was transitioning from the older Madrid-school aesthetic toward what would later become the famous '1A' model. Master craftsmen such as Paulino Bernabé and Mariano Tezanos were already active at this time, marking their instruments with their initials. While this particular guitar does not bear any such initials, its design and tonal qualities retain strong echoes of Ramirez I and II, offering a rich, traditional Madrid-style sound.

The instrument features the 'blue label', a holdover from the Ramirez II era, and presents a body reminiscent of 19th-century Torres-style guitars: slightly smaller in size, and extremely lightweight at just 1.23 kg. The headstock retains the classic shape used since Ramirez I, and the rosette sports a simple concentric ring design. The tone is earthy, raw, and sculptural—quite different from the lush, trebly brilliance of Ramirez III's post-1964 1A models. It delivers a powerful yet unpolished voice that projects all notes with clarity and equal presence.

Internal Bracing & Construction

Top Bracing:

Two harmonic bars (above and below the soundhole)

Reinforcement plates on both sides of the soundhole

Seven symmetrical fan braces, extending from a low central point in a wide, fan-shaped spread

No closing bar or bridge plate reinforcement

Main resonance is slightly below A

Condition

Surface wear consistent with age: playing marks, scratches, small dings

No cracks or structural repairs to the top or back

Back and sides are likely made from walnut or similar species; the center seam is reinforced with an internal patch

The neck and fingerboard show evidence of past modification, including possible double-fingerboard leveling and shimming under the nut

Neck is straight and stable; frets show some wear (mainly frets 1–5), but playability remains unaffected

Peghead shows signs of rough workmanship and asymmetry, suggesting it may have originally been fitted with wooden pegs, later converted to geared tuners (current tuners likely lower-end, possibly Baker brand, with steel rollers)

Some discoloration and indentations on the back of the neck from capo use (frets 1–3 area)

Neck profile is a rounded C-shape

String height: 3.2 mm (1st string) / 4.0 mm (6th string) at 12th fret

Saddle height remaining: approx. 1.5–2.5 mm, allowing for further adjustment if desired