327:, Manuel Caceras, Manuel González Contreras, Felix Manzanero, Manuel Rodriguez, Enrique Borreguero Marcos, Miguel Malo Martinez, José Romero, Ignacio M. Rozas, Mariano Tezanos and Pedro Contreras Valbuena, with many going on to establish their own workshops. Among his apprentices were Ramírez's own children, José IV (1953-2000), who undertook an apprenticeship from 1971 to 1977, and Amalia (1955- ), who had commenced her apprenticeship in 1976 before after its completion, leaving to become an astrologer. In 1979, the company sent a selection of its finest guitars to Segovia, from which he chose one made by José Ramírez IV.
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an efficient production basis where the apprentices using dedicated procedures did the basic tasks, which allowed more time for the qualified luthiers to undertake the difficult work. Prior to this, all fine-quality
Spanish guitars had been produced by individual luthiers which had resulted in small production levels. To increase production further, Ramírez purchased a building near Ventas, in which a large workshop was established which allowed production to rise to 1,000 hand-built guitars a year.
252:, the company had great difficulty in sourcing materials. These shortages encouraged José III, known as Pepé, who had formally joined the workshop in 1940, to experiment with non-traditional woods and design techniques. The younger José's love of innovation was often to the dismay of his father, who felt that the results would not be profitable. This led to frustrations with his father, as frequently he sold his work with little if any documentation as to the construction, the results, or the buyer.
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siblings' shares in the business. The business was very seasonal, as generally the guitars were only purchased at the end of the harvest season and at
Christmas when they were used by serenading groups. As a result, sufficient income had to be generated during these periods to pay the employees while made the guitars over the summer.
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Against his father's wishes, José Ramírez II (whose full formal name was José Simón Ramírez de
Galarreta y Pernías) left the business in 1904 when he was twenty to join a folk group on a planned two-year tour of South America. After touring Argentina, Chile and Uruguay, the group dissolved, and after
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Enrique Garcia (1868-1922), who began an apprenticeship with José Ramírez brothers in 1883, joined Manuel. The workshop took some time to attract customers, which led Manuel to bring in income by working for a period as an electrician for the Madrid
Electric Company, leaving the workshop in the hands
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In 1891 Manuel proposed to move to Paris and establish himself there, to which José offered his support. However, for unknown reasons, Manuel changed his plans, and decided instead to start his own workshop in Madrid, which would be in direct competition with his brother. This caused a lasting enmity
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José IV died of lung cancer in 2000, leaving Amalia to oversee the entire operation. As of 2010 this consists of a team of fourteen, including Amalia herself, four other guitar makers, and three apprentices. José IV's children José Enrique and
Cristina have been involved in the family business since
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In the 1960s, to cope with increasing demand, while retaining the original premises at Calle de la
Concepción Jerónimo nº 2 as a shop the company moved its workshop to Calle de General Margallo nº 10, and greatly expanded its number of employees in order to produce more guitars. Ramírez established
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pattern which most luthiers had adhered to since the mid-1800s. It was designed to have the power and projection needed to play solo concerts in large auditoriums, or to play with an orchestra, as well as to produce a fullness of tone, sweetness and a balance across the entire register. Both these
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In 1959, Manuel
Contreras (Madrid, 1926-1995) joined the workshop as a senior luthier and remained with them for three years, until he left to open his own guitar workshop. By 1960, Andrés Segovia was sufficiently impressed with José III's efforts to borrow his first Ramírez guitar and take it on
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then planned to open his own workshop, and even had labels printed, but changed his plans after Manuel's widow asked him to stay. Esteso left in 1917 to establish his own workshop, followed by
Hernandez in 1920. Borreguero continued working for Manuel's widow, who died in 1921, until the workshop
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While José made traditional broad shallow guitars in the style of his mentor
Gonzalez, with arched tops which produced a hard loud sound, Manuel differed in his style of guitar. He followed the ideas of Antonio Torres and came to be regarded as his successor, yet at the same time he inquisitively
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As high quality German spruce became difficult to source, and increasingly expensive, José III in 1965 introduced western red cedar on the soundboards of the company's 1a and 2a models, and convinced influential artists to use them. He also developed a new varnish that improved the sound quality
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visited Manuel with a request to rent a guitar for a concert. After hearing him play, Manuel gave him the guitar, which had been largely made by
Hernandez. Segovia used the guitar in concerts and on recordings from 1912 to 1937, and played it at his United States debut in New York's Town Hall in
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In 1988 Jose III passed control of the business to José IV and Amalia, who had returned in the same year to help her brother. A subsequent major restructuring resulted in the closure of the Ventas workshop in 1992, a reduction in the number of employees and concentrating at the General Margallo
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While José Ramírez never built anything other than traditional guitars, he built up a strong business that developed a number of luthiers, including his own son José Ramírez II (1885-1995) as well as Rafael Casana, Enrique Gracia, Julian Gómez Ramírez (1879-1943), who was no relation, Francisco
270:, with the help of his wife Angelita, was forced to take over the management of the business and for a time abandon making guitars himself. However, he continued to experiment, putting designs on paper to be built by his employees and supervising every phase of construction of the instruments.
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Two years after José Ramírez's death in 1923, José Ramírez II, by now married with two children, José Ramírez III and Alfredo, returned to Madrid. Until his return the workshop was managed by his senior luthiers, while his daughters and Jesús Martínez operated the shop. José II bought out his
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In 1895 Enrique Garcia left his position as Manuel's foreman to move to Barcelona to establish his own workshop. Manuel Ramirez subsequently hired Santos Hernandez (1873-1943) in about 1905 as foreman. By 1912, Manuel Ramírez had been appointed luthier to the National Conservatoire in Madrid.
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1929. These performances brought Manuel Ramírez's style of guitar and Hernandez's skill to the notice of other players. The guitar that Manuel Ramírez gave Segovia was later donated by Segovia's widow, Emilita, to the Metropolitan Museum of Art in New York, where it now resides.
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workshop on wholly handmade professional instruments, which reduced to production rate of 130 a year. They also contracted out the construction of their top-quality student instruments to other workshops, which were then delivered to Ramírez for final inspection and adjustment.
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Up until the early 1970s, the company's classical guitars were built with back and sides made of Brazilian rosewood. As high-quality Brazilian rosewood become scarcer and expensive, most of their classical guitars have since used Indian rosewood.
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José II moved away from his father's style of guitar to one closer to the style of his uncle Manuel. He introduced the simple elegant headstock that became a feature of the Ramírez brand. In 1929 a Ramírez guitar was awarded a gold medal at the
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between the brothers and they never spoke again. Manuel opened his workshop at Cava Baja nº 24, before relocating to Plaza de Santa Ana nº 5, and in 1897 to Calle Arlabán nº 10, where he remained until 1912, before moving next door to nº 11.
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A Ramírez hand-built classical guitar is typically made of 14,836 items, of which 438 are essential pieces which make up the structure of the instrument, while the rest are the myriad of little pieces that go into the decoration.
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José III worked closely with top performers, which brought acceptance to his innovations. Since they had first met in 1952, Segovia had encouraged him with constructive yet often brutal criticism to meet his exacting standards.
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In 1983, Jose Ramirez III designed the “Camara” guitar, with the intention of eliminating the “wolf notes.” It gave some positive results, for instance, the clarity of its sound was excellent for studio recordings.
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experimented and further developed Torres's ideas. As a result, he began producing guitars that had a lighter, delicate sound, that became popular within the flamenco community. As well as Enrique Garcia, among the
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innovations and many others are standard today. Ramírez went on to build more guitars for Segovia, which became his guitars of choice after having for the past 25 years used those made by Herman Hauser.
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tour with him. Made by Contreras, it incorporated Ramírez's latest ideas with a longer string length of 664 mm, larger body, and asymmetrical bracing, unlike the symmetrical
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Among the luthiers who were trained or worked for Ramírez Guitars during this period were Marcelo Barbero (1904-1956), Alfonso Benito and Manuel Rodriguez Fernandez (1926-2008).
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In the late 1980s the end of government export support and changes in Spain's tax structure led to a decrease in sales and the firm getting into financial difficulties.
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learned how to make guitars while an apprentice to Madrid guitar maker Francisco Gonzalez. Once he had finished his apprenticeship he left, and with his younger brother
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Among his innovations was to introduce western red cedar (Thuja plicata) for the soundboard of the guitar instead of the spruce that had been used up until then.
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Since José III had introduced it in the early 1960s, the company's top hand built model, the 1a or Primeria José IV, had been the rich slightly mellow-sounding
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José III died in 1995, his workshop having produced in his lifetime 20,000 hand-built guitars, nearly 30 to 40 times that of most of the company's competitors.
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and other makers to copy Manuel Ramírez's style of guitar. Segovia would later play Hauser's guitars until he returned to using a new Ramírez guitar in 1960.
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In the summer of 1995 Ramirez were unable to renew the lease on the original shop at Concepción Jerónima nº 2 and moved to Calle de la Paz nº8.
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Today the company offers, in addition to classical guitars, electro-acoustic guitars, solid-body electric guitars and flamenco instruments.
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In 1971 the sales shop was replaced by a larger shop at Concepción Jerónima 5, directly in front of the original establishment.
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José II's other son Alfredo, who was supportive of his brother's experiments, managed the administrative side of the business.
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305:. High-end professional models based on both of these extended-range guitars remain in the company's current catalogue.
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Manuel Ramírez died on 25 February 1916 before he could enjoy the benefits of his connection with Segovia.
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of Garcia. The business made violins as well. In 1893 Manuel won a medal at that year's Chicago Fair.
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In 1897, José Ramirez was awarded a gold medal for his guitars at the Logroño exposition.
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guitars. Five generations of the Ramírez family have produced Ramirez guitars.
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meeting his future wife, he took up residence as a guitarist in Buenos Aires.
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As Alfredo had died in 1954, following the death of José II in 1957,
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131:) is a Spanish manufacturer of professional, concert-quality
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Among the artists who have used the company's guitars are:
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Manuel was also regarded as am excellent maker of violins.
187:(1893-1969), who became his apprentice at the age of 12.
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José Ramirez - Luthier of Classical and Flamenco Guitars
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Ramírez recruited and trained many luthiers, among them
761:. New York: Hal Leonard Corporation. pp. 26–28.
643:. New York: Chartwell Books. 2011. pp. 250–253.
2616:
Musical instrument manufacturing companies of Spain
1008:
902:"Interview With Amalia Ramírez: Lady of the guitar"
374:
975:describes several members of the Ramírez dynasty.
840:"Guitar,1912: Workshop of Manuel Ramírez Spanish"
2597:
816:1001 Guitars to Dream of Playing Before You Die
899:
641:Acoustic Guitars: The Illustrated Encyclopedia
994:
759:The Art and Craft of Making Classical Guitars
695:"Historic Guitar Makers of the Madrid School"
344:
900:Suárez-Pajares, Javier (February 14, 2017).
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961:"Ramírez & Classical Design Evolution"
953:
809:
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784:"Santos Hernandez, Master Spanish Luthier"
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2621:Manufacturing companies based in Madrid
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289:More radical still, in 1963 he built a
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818:. Sydney: Pier 9. pp. 60, 180.
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248:During and in the aftermath of the
13:
782:Greenberg, J. (October 18, 2015).
309:while offering better protection.
231:
14:
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940:
864:Miklaucic, Tim (April 11, 2018).
786:. Zavaleta's La Casa de Guitarras
697:. Zavaleta's La Casa de Guitarras
243:Ibero-American Exposition of 1929
375:Notable users of Ramírez guitars
147:
22:
924:"Camara Model | Mabolo Flowers"
916:
582:On The Shadows' hit recording "
2606:Guitar manufacturing companies
693:Greenberg, J. (May 19, 2015).
221:Simplicio and Antonio Viudez.
1:
2582:steel-string acoustic guitars
603:
904:. Guitar Salon International
868:. Guitar Salon International
842:. Metropolitan Museum of Art
814:Terry, Burrows, ed. (2013).
364:2006 and 2007 respectively.
210:finally closed around 1923.
56:; 142 years ago
7:
866:"Luthier: Jose Ramirez III"
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213:Segovia encouraged luthier
10:
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757:Rodríguez, Manuel (2003).
345:José IV and Amalia Ramírez
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268:José Ramírez III José III
179:that Manuel trained were
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1012:brands and manufacturers
527:
474:Alexander-Sergei Ramírez
522:Classical guitar making
492:Víctor Monge Serranito
455:Christopher Parkening
2393:National Reso-Phonic
2305:National Reso-Phonic
1736:National Reso-Phonic
113:guitarrasramirez.com
731:. Guitarras Ramírez
299:eight-string guitar
45:Musical instruments
18:
593:Out of the Shadows
551:A Hard Day's Night
499:Kazuhito Yamashita
207:Modesto Borreguero
185:Modesto Borreguero
16:
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2588:: Defunct company
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963:by George Gruhn;
825:978-1-7433-6912-8
726:"Company History"
650:978-0-7858-3571-4
590:, from the album
566:Sting in the Tail
548:, from the album
291:ten-string guitar
250:Spanish Civil War
125:Guitarras Ramírez
118:
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103:Classical guitars
17:Guitarras Ramírez
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949:Official website
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262:José Ramírez III
197:In 1912 a young
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410:George Harrison
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121:Ramírez Guitars
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542:And I Love Her
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1018:Acoustic only
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966:Guitar Player
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563:On the album
560:
553:
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547:
543:
540:On the song "
537:
533:
523:
520:
519:
510:
509:David Russell
507:
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504:Narciso Yepes
502:
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445:Mike Oldfield
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430:Mark Knopfler
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425:Matthias Jabs
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415:Robby Krieger
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295:Narciso Yepes
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148:Establishment
140:
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53:
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33:
29:
25:
20:
2167:Harp guitars
2077:Rickenbacker
1804:Tom Anderson
1764:Rickenbacker
1573:and electric
1351:Gordon-Smith
1155:
1090:Joseph Lukes
964:
927:. Retrieved
918:
906:. Retrieved
870:. Retrieved
844:. Retrieved
834:
815:
788:. Retrieved
777:
758:
733:. Retrieved
699:. Retrieved
640:
591:
584:Guitar Tango
578:
564:
559:
549:
536:
435:Alex Lifeson
390:Charlie Byrd
378:
369:
366:
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257:
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247:
245:in Seville.
239:
235:
226:
223:
219:
212:
204:
196:
192:
189:
173:
169:
165:
153:José Ramírez
151:
124:
120:
119:
87:Headquarters
81:José Ramírez
31:Company type
2239:Del Vecchio
2107:Steinberger
1885:Del Vecchio
1859:instruments
1552:Valley Arts
1524:Steinberger
1450:Micro-Frets
1381:James Tyler
1065:Del Vecchio
1060:Conde Hnos.
588:The Shadows
546:The Beatles
495:Galina Vale
478:The Romeros
450:Roy Orbison
440:Hank Marvin
385:Chet Atkins
351:Tradicionel
2600:Categories
2557:Tanglewood
2542:Silvertone
2431:D'Angelico
2340:Tanglewood
2127:Tanglewood
2102:Silvertone
1978:Duesenberg
1973:Danelectro
1968:D'Angelico
1779:Silvertone
1620:Jay Turser
1610:Danelectro
1605:D'Angelico
1316:Electrical
1306:Duesenberg
1291:C.R. Alsip
1209:Tanglewood
1171:Santa Cruz
1055:Cole Clark
929:2022-04-04
604:References
569:(2010) by
465:Nate Najar
303:José Tomás
2578:classical
2426:Breedlove
2421:Blackbird
2224:Breedlove
2211:Mandolins
2147:Westfield
2049:Music Man
1838:Westfield
1590:B.C. Rich
1499:Ruokangas
1473:Music Man
1463:Motor Ave
1437:Matsumoku
1331:Fernandes
1296:D'Alegria
1276:Caparison
1050:Breedlove
1045:Blackbird
969:July 1983
872:March 10,
571:Scorpions
133:classical
2576:Include
2496:National
2446:Freshman
2403:Ukuleles
2363:Epiphone
2297:National
2249:Giannini
2244:Epiphone
2229:Collings
2092:Shergold
2087:Schecter
2082:Sadowsky
2072:Reverend
2008:Guyatone
1983:Eastwood
1890:Epiphone
1848:Zemaitis
1833:Washburn
1769:Schecter
1721:Larrivée
1680:Hagström
1655:Giannini
1650:Garrison
1635:Epiphone
1595:Collings
1571:Acoustic
1514:Shergold
1504:Sadowsky
1486:Reverend
1366:Heritage
1356:Guyatone
1336:Flaxwood
1311:Eastwood
1271:Campbell
1256:Bohemian
1204:Takamine
1151:RainSong
1136:Original
1128:National
1075:Freshman
908:March 7,
846:March 9,
790:March 9,
735:March 7,
701:March 9,
516:See also
355:Especial
177:luthiers
137:flamenco
99:Products
41:Industry
2562:Weymann
2532:Seagull
2504:Ovation
2451:Harmony
2416:Beltona
2373:Gretsch
2345:Weymann
2325:Seagull
2315:Ovation
2259:Harmony
2219:Beltona
2152:Westone
2054:Ovation
2003:G&L
1948:Antoria
1943:Alembic
1925:Weymann
1920:Tonante
1880:Deering
1828:Vintage
1821:Vester
1809:Tonante
1741:Orville
1685:Harmony
1675:Gretsch
1580:Antoria
1562:Westone
1455:Moniker
1445:Mayones
1416:Lindert
1376:Jackson
1346:G&L
1301:Diamond
1286:Charvel
1281:Chapman
1261:Brawley
1238:Alembic
1222:Weymann
1176:Seagull
1156:Ramírez
1141:Ovation
1118:Maestro
1040:Beltona
1025:Alvarez
596:(1962).
554:(1964).
470:Sabicas
143:History
129:Spanish
109:Website
77:Founder
59: (
51:Founded
35:Private
2552:Suzuki
2522:Petros
2514:Parker
2486:Martin
2476:Lichty
2471:Ibanez
2461:Hohner
2456:Höfner
2388:Martin
2368:Gibson
2335:Tacoma
2287:Martin
2274:Ibanez
2264:Hohner
2254:Gibson
2180:Martin
2175:Gibson
2142:Vigier
2132:Tobias
2122:Tagima
2117:Tacoma
2059:Parker
2033:Jolana
2028:Italia
2023:Ibanez
2018:Hohner
2013:Höfner
1998:Gibson
1993:Fender
1988:Farida
1935:Basses
1900:Ibanez
1895:Hohner
1867:Banjos
1843:Yamaha
1794:Taylor
1789:Tagima
1700:Ibanez
1695:Hohner
1690:Höfner
1660:Gibson
1645:Fender
1640:Farida
1557:Vigier
1539:Teisco
1519:Squier
1509:Samick
1478:Parker
1424:Line 6
1406:Kramer
1396:Kiesel
1386:Jolana
1371:Italia
1243:Bigsby
1214:Walden
1199:Tacoma
1194:Suzuki
1186:Stella
1146:Petros
1123:Martin
1108:Lichty
1035:Babicz
1030:Avalon
1010:Guitar
822:
765:
647:
283:Torres
161:Madrid
157:Manuel
67:Madrid
2547:Stagg
2537:Sigma
2527:Regal
2491:Maton
2378:Guild
2330:Stagg
2320:Regal
2279:Levin
2198:Levin
2190:Lutes
2137:Tokai
2112:Supro
2097:Sigma
1953:Blade
1915:Stagg
1814:Valco
1799:Tokai
1784:Stagg
1774:Sigma
1751:Penco
1726:Maton
1713:Klira
1670:Greco
1665:Godin
1534:Supro
1491:Robin
1468:Roman
1429:Lotus
1361:Hamer
1266:Burns
1251:Blade
1181:Sigma
1166:Regal
1100:Levin
1080:Furch
1070:Dobro
729:(PDF)
586:" by
544:" by
528:Notes
92:Spain
71:Spain
2580:and
2481:Luna
2466:Hora
2441:Dean
2411:Aria
2269:Hora
2234:Dean
1958:Cort
1875:Dean
1625:Dean
1600:Cort
1585:Aria
1529:Suhr
1411:Lado
1401:Koll
1391:Kent
1326:Fano
1113:Luna
1085:Hora
910:2019
874:2019
848:2019
820:ISBN
792:2019
763:ISBN
737:2019
703:2019
645:ISBN
301:for
293:for
135:and
61:1882
54:1882
2586:(†)
2517:(†)
2499:(†)
2383:Kay
2300:(†)
2282:(†)
2201:(†)
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