Herman Hauser I needs no introduction to the classical world. However, aside from the family of Spanish guitars for which he is best known, Hauser I also built a number of other instruments according to the musical trends of the turn of the twentieth century, among them zithers and even lutes. Here we have an example of his Vienna Hybrid model, a design favored in the Munich music scene with Maple body over Spruce, an adjustable neck, mustache bridge, and zero fret. The sound is lively and quick, with a punchy, bright treble register that cuts through the mix. The bass register is energetic and brassy and projects with a crisp sweetness. Playability is superb, plus this Vienna model with its thin sides (only 3” at the tail) weighs in just over three pounds.
A remarkable example of one of traditional lutherie’s giants, this Hauser I Vienna model is a testament to his enduring legacy.

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Powerful, but controlled–this 1971 Concert Classical from Jeronimo Pena Fernandez is one of the finest Classicals we’ve seen from the 1970s in quite some time. Decked out in Palosanto holy wood back and sides with a Spanish Pine top, this Fernandez exhudes the kind of richness of voice and tonal sonority found in guitars twice, thrice, its age. Set your fingertips to the trebles, and prepare yourself for an upper register which is shockingly clear, with immense headroom and expressive shimmer. To complement the agile trebles, the basses are sweet and responsive, but focused, with excellent sustain.Of course, Fernandez is known for more than just the richness of his guitars’ voices–the skill with which he has carved this headstock and bridge is astounding! With shapes and designs which are as extensive as they are delicate, Fernandez has rendered this instrument as much an objet d’art as a powerful tool for the concert Classical guitarist. Perhaps it’s the slow confidence with which Fernandez has rendered these carvings that informs the strength of the instrument’s voice; surely, the expressive, vigorous tonality this Concert Classical exhibits is a mark of his excellent voicing skills as well.Stained umber, but with a voice that spans the dark and mournful to the bright and exhuberant, this guitar is completely opened up and ready for many more years of beautiful music.

Masaru Kohno was widely regarded as one of the finest builders of concert Classicals, and our experience with his work will definitely reinforce that reputation. This particular Classical is a 1973 vintage, with Brazilian Rosewood back and sides and a tight-grained Cedar top, and has one of the sweetest, most opened-up voices we’ve heard in a Classical in some time–thanks in no small part to the 660mm long scale setup!

The tone is balanced, with bass notes that are rich and articulate, and the setup is glass smooth and easy on the hands. This #15 model Kohno responds beautifully to both a light touch to a more aggressive attack, and provides consistent projection even with the subltest adagio. The bass notes exude a dry tone that allows them to cut through the mix, complementing the warmth of the middle register. This Kohno has seen many years of great music, and it’s got many more years still to come.

Masaru Kohno’s guitars are regarded as being incredible concert guitars, the voice is powerful and full, with strong trebles and complementing basses, they are able to fill a concert hall with articulate sound. As always with a Kohno classicals, this is a wonderfully built instrument, made from beautiful Brazilian Rosewood and perfectly straight grained cedar. You will not find a better guitar out there for the price, this guitar has everything a player or performer could ask for.

Masaru Kohno is a legend among the classical guitar community. He was known for building guitars with a clear and powerful voice and superb playability. It’s little wonder artists such as Julian Bream, Oscar Gighlia and Sharon Isbin played Kohno guitars. This Model 30 Kohno is another exceptionally playable classical guitar built by the Master. This instrument has great projection and round tones courtesy of the Brazilian Rosewood back and sides and Spruce top. The playability of this Kohno is wonderful over the entire fingerboard. This Model 30 has a signed label as well.

Another stellar guitar from Masaru Kohno. This instrument was completed not long after Masaru’s Gold Medal win at the International Guitar Building Competition in Belgium in 1967. The Rosewood back and sides and Spruce top–along with Masaru’s impeccable craftsmanship–make for a guitar with loud, robust tones and perfect playability. As if that wasn’t enough, this instrument is in excellent condition for being over 40 years old and only shows light play wear. Tonally, this guitar offers amazing tone at an easy price point.