{"id":243,"date":"2022-08-19T09:15:10","date_gmt":"2022-08-19T09:15:10","guid":{"rendered":"https:\/\/gitarloftet.com\/?page_id=243"},"modified":"2022-12-07T15:28:36","modified_gmt":"2022-12-07T15:28:36","slug":"nye-gitarer","status":"publish","type":"page","link":"https:\/\/gitarloftet.com\/?page_id=243","title":{"rendered":"Nye gitarer"},"content":{"rendered":"\t\t
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SLIK BLIR GITAREN TIL<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tprosess<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Gitarane mine vert\u00a0 bygd etter teikningar og prinsipp av den spanske meisteren Jose L. Romanillos. Med unnatak av bandsag, nyttar eg berre tradisjonelt handverkt\u00f8y i bygginga. Eg f\u00f8retrekk \u00e5 byggje\u00a0 fr\u00e5 grunn av, helst med utgangspunkt i grovplank som gradvis vert tilskore ,dimensjonert og tilpassa dei ymse delane p\u00e5 gitaren. I etterkant lakkerer eg instrumentet med schellac etter \u00abfrench polish\u00bb metoden. Verkstaden min er i Bergen og har namnet \u00abGitarloftet\u00bb.<\/span><\/p>

Orfeo Magazine<\/a><\/strong>\u00a0<\/a>(side 66-77)<\/span><\/span><\/p>

Norske gitarer<\/a><\/strong><\/span><\/p>

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All <\/em>my guitars are built from designs and principles learned from the Spanish master guitar builder Jose L. Romanillos. Apart from an electric band saw, I only use traditional manual tools. I prefer to build guitars from scratch, as a rule from a single piece of timber that I cut to form the various parts of the guitar. I use a shellac finish applied using a French polishing method. My workshop GITARLOFTET is located in Bergen, on the west coast of Norway.<\/em>l\u00a0<\/em><\/span><\/p>

Orfeo Magazine<\/a><\/strong>\u00a0<\/a>(page 66-77)<\/span><\/span><\/p>

Norwegian guitars<\/a><\/strong><\/span><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Eg byggjer gitarane mine med gran i lokket som vert kj\u00f8pt inn fra ulike kjelder og forhandlarar mellom anna i Norge, \u00d8sterrike, Sveits, England og Italia. Dette skjer ofte i samarbeide med andre byggjarar.<\/span>
I gitarhalsen nyttar eg for det meste cedrela eller mahogni, men eg har og god r\u00f8ynsle med t.d. norsk kirseb\u00e6rtre og ask.<\/span>
I klangbotn og sider nyttar eg mest wenge og indisk palisander.<\/span>
Stolen er alltid laga av Rio rosewood og gripebrettet er alltid laga i ibenholt.<\/span>
Stemmemekanikken er oftast produsert av amerikanske Waverly eller italienske Alessi, men her finnes gode alternativ for den som ynskjer det.<\/span><\/p>

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All my guitars are built with a top made of spruce sourced from various suppliers in Norway, Austria, Switzerland, England and Italy. I usually purchase wood together with other guitar builders.
<\/span><\/em>The neck is usually made from cedar or mahogany, but I have also found Norwegian cherrywood and ash suitable.
<\/span><\/em>For the back and the ribs I tend to use wenge and Indian palisander.
<\/span><\/em>The bridge is always made of Rio rosewood, and the fretboard of ivory.
<\/span><\/em>I tend to use American Waverley or Italian Alessi mechanics, but there are other good alternatives out there for those interested in other manufacturers.\u00a0<\/span><\/em><\/span><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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For meg st\u00e5r Julian Bream sine innspelingar fra 1973 og utover i ei s\u00e6rstilling. Sj\u00f8lv om Bream var ein av dei instrumentalistane som meistra ulike instrument s\u00e6rskild godt, tenkjer eg at gitaren Romanillos laga til han i 1973 har nokre s\u00e6rmerkte klangkvalitetar som ga innspelingane til Bream i dei neste ti\u00e5ra ein ekstra dimensjon. Jose Romanillos meinte og at denne gitaren vart spesielt vellukkka og at den hadde spesielle kvalitetar. Lokket i denne gitaren var konstruert etter ein modell av Hermann Hauser og representerer enkelt sagt eitt av to lokkdesign som Romanillos konstruerte sine klanglokk etter.<\/span>
I dei seinere \u00e5ra har eg og hatt stort utbyte av \u00e5 spele p\u00e5 to Jose Ramirez 1A modeller. Den eine fr\u00e5 1970 og den andre fr\u00e5 1967 (MT). Eg s\u00f8kjer n\u00e5 \u00e5 kombinere detaljar fr\u00e5 Jose Ramirez 1A modellen med Jose Romanillos modellane og p\u00e5 denne m\u00e5ten s\u00f8kje etter \u00e5 finne mitt eige personlege klanglege uttrykk.<\/span><\/span><\/p>

Eg byggjer no to modellar. Den eine er basert p\u00e5 ein Romanillos modell der eg s\u00f8kjer \u00e5 f\u00e5 fram eit instrument som har ein djup og varm klang med god balanse mellom bass og diskant. I den andre modellen s\u00f8kjer eg ein lysare og brilliant gitar der diskantregisteret er i fokus. Ein godt balansert gitar er sj\u00f8lvsagt eit fokus i denne modellen og. Mine gitarar lagast med strengelengde enten 650mm eller 660mm. Dette og andre tilpasningar lagar eg etter ynskje fr\u00e5 kj\u00f8paren.<\/span><\/p>

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The greatest sound ideal for me is to be found in Julian Bream\u00b4s recordnings from 1973 and onwards. Even though Bream was one of those great performers that really got the most out of a wide range of guitars. I feel the guitar built for him by Romanillos i 1973 had certain unique tonal qualities that gave Bream\u00b4s recordings an extra dimension. Jose Romanillos himself felt that this particular guitar was one of his very best, with extraordinary qualities. The top of this guitar was designed on the basis of a model by Herman Hauser, and represents one of two designs used by Romanillos for his soundboards.<\/em><\/span><\/p>

In recent years I have greatly enjoyed playing two Jose Ramirez 1A models, one built in 1979 and the other i 1967 (MT). My aim is to combine details from the Jose Ramirez 1A model and Jose Romanillos models, to achieve my own personal sound.<\/em><\/span><\/p>

These days I build two models. One is based on a Romanillos model, where I aim for an instrument with a deep, warm sound and good balance between bass and descant. The other is geard towards a brighter, more brilliant sound in the descantregister, but of course, still aiming for a well-balanced sound. My guitars come with a choice of string length og 650 mm or 660 mm. This, and other adjustments, can be specified by the customer.<\/em><\/span><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Den Gode Klangen<\/a><\/strong><\/span><\/p>

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In search of the utimate sound<\/a><\/strong><\/span><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Hilsen fra kunde<\/a><\/strong><\/span><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\"Egil_Haugland_04\"<\/figure><\/div>
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