关于 制作家 Tobias Braun

fumitopapa

查找演奏用琴的时候发现了这个制作家 Tobias Braun
在美国 GuitarSalon的网页上有如下的介绍
Tobias Braun is one of the best Central European makers we’ve seen to date. He uses spectacular materials including gorgeous German spruce which is covered in bearclaw and has irregular, yet tight and beautiful grain patters. The wood used for the back and sides is satinwood, which is quite difficult to work with, so most luthiers choose not to. Enrique Garcia and Francisco Simplicio were comfortable with it, and Tobias Braun intends to re-introduce it, since he believes that the sound is enhanced. The tone of this guitar is very clean and extremely loud, with a very robust, rounded, thick, yet clear quality of sound. He uses a small “tornavoz”, about 16mm deep, to increase projection and clarity. An interesting aesthetic feature is the use of a key-motif in the rosette, which is borrowed from an ancient stone boundary marker located near Braun’s workshop just outside of Vienna (see photo). Braun also uses customized Rubner tuners which are engraved with his initials.
The plantilla and bracing pattern of this guitar are based on extensive notes that Tobias took several years ago of a 1924 Santos Hernandez guitar. This Santos was in the possession of its original owner - one of the leading female guitarists of the 20th century - Luisa Walker, student and disciple of Miguel Llobet. Although Braun works from detailed blueprints that he made during his examination of the original guitar, his instrument has been slightly modified to suit the needs and demands of the modern concert guitarist. The width of the nut has been increased from 50mm to 52mm. The thickness of the neck, soundboard and back have all been slightly increased as well. All other measurements (thickness of the sides, braces, spacing of braces, etc...) are identical to the original. The resulting guitar is a wonderful modern concert instrument, with full, steady trebles and penetrating basses. Yet one can also discern the old-world sound of the great Spanish masters, and with this guitar, it is to Santos that Tobias Braun tips his hat.

在这以外，哪位还了解这个制作家的其他情况？
我这里有一把琴的照片，看起来非常像 Romanillos的琴 就是村治佳织的那把。

guitar_japan

制作家「Jose Luis Romanillos」的弟子:
http://www.tobiasbraun-guitars.com/start_en.php

fumitopapa

看来除此之外 没有其他的情报了。
关于 Jose Luis Romanillos的琴是什莫样的特点？哪位可以介绍一下。我也只是听过村治的演奏不知道和 Kevin Aram 的琴比较起来如何？

Duke

这里有-斑竹-WIHELM-使用07年-ARAM-的音频可以鉴赏一下!

http://bbs.guitarw.com/viewthrea ... &extra=page%3D1

fumitopapa

试弹过一把92年的轻轻一拨就有反映了。
好琴呀，你是不是想说Romanillos就是这个路子？
可是村治的演奏听起来还是满有魄力的。。

fumitopapa

除了这里提到的Braun 以外 还有一位就是 Gerhard Oldiges了 据说是Romanillos的大弟子。
我想制琴业中以西班牙为多 之后就是德国和英国了 也就是说好琴还是在欧洲呀

Duke

原帖由 fumitopapa 于 2007-10-15 09:30 PM 发表
试弹过一把92年的轻轻一拨就有反映了。
好琴呀，你是不是想说Romanillos就是这个路子？
可是村治的演奏听起来还是满有魄力的。。

可以听-BREAM-的演奏(ROMANILLOS),ARAM与ROMANILLOS-有过交往与制作上的探讨,(在英国)而-ROMANILLOS-的儿子的吉他没有机会弹到,也应该是非常好,(价格也是非常贵)

路子有些像,但不完全是,前面有些文章里我已经作过解释,ARAM与ROAMNILLOS,TORRES是不同的在制作上,但整体的风格上都属于传统琴制作理念(音色是其中之一)

有机会把这三把琴放在一起作个比较,看自己喜欢那一把(机会渺茫),也许一个都不喜欢?!如果还是抱着等待的心理与观望态度,那一倍也买不上吉他,当你老的时候可以写一本买琴经历的书(最后荒废是手指头,自我满足感!)

fumitopapa

谢谢，现在就是在选琴，毕竟这次要选的琴在价格上要低 在品质上要高，将来还能升值 就像北京的房价一样 天天的涨

fumitopapa

前几天这琴已经卖出去了。。。

可惜我钱没攒够亚。。。

只好是叹气一声   好琴就是出售的快呀。。。
还是要看有没有缘分了。
这不 又碰到一把西班牙的琴。。。好馋呀

是叫Santiago Hernandez的制作家的琴。这个人我也是最近才知道原来他的父亲就是有名的
SANTIAGO MARIN。
弹过这把琴之后对西班牙吉他的认识发生了本质上的变化，除了马林系的琴明亮 之外更有了德国琴
的清晰 和声的分离也是相当的漂亮。虽是新琴音量也是没问题的。