Romantic and old guitars: Hiroshi Tamura / Hijos de Vicente Tatay (2) / Vicente Tatay Tomas / Vicente Tatay Tomas

Presented here is a Hiroshi Tamura guitar from 1972.

In fact a P50 model. They carried this model number

through the seventies but as it has something to do with

its' price one should notice that this was quite an expen-

sive guitar. I didn't bought it for that reason! I liked

the sound. The brothers Tamura worked together

during the sixties, seventies and eighties. They are

no longer alive and had no successors.

A narrow grained solid cedar top that has its' marks

of intensively playing and in fact a kind of rough

treatment. An ebony fingerboard but on the other

hand a rather simple plastic topnut. I've changed

both topnut and bridgebone into an ivory one.

Its' scale is 655 mm. Width at the topnut: 52 mm.

Quite a standard 7 fan bracing with 2 closing

ribs in the old Antonio de Torres way.

I was the lucky guy as someone was willing to sent me this picture

of another Tamura guitar. A buyer accused me of gluing in the rather

wide wooden plate between the two top transverse bars. He said

he never saw that before. I could already tell him that even Karl

Hauser provided his guitars with this extra in order to prevent

the cracking of the soundboard alongside the fingerboard.

Dull spots as he called these ones could easily be removed!

For that purpose I'd like to use a very fine polishing liquid

called Nicko, a lot of violin makers already are using.

after 5 minutes these spots were gone.

No cracks thorough the soundboard as becomes

clear from the inside. And otherwise a lightbulb will

make it clear wether if there is a crack or not.

Apart from a crack or not, it can be easily repaired. When the

crack closes nicely, all you have to do to work in some glue.

This area is of course more stable in this guitar due to the

extra wide wooden plate between the two upper transverse

bars. A solution that should be added in more guitars to my

opinion. The sound doesn't come from this area.

Clearly visible here: The wide wooden plate.

On the two pictures here above you can see that though

the sides and back are not solid, they glued rosewood on

rosewood which is pretty stable and certainly will

prevent cracks in the sides.

The back that is in good condition but laminated as

are the sides. The appearance is still great as it appears

to be Brasilian rosewood to my opinion though only

a top veneer layer. Inner woodwork is immaculate.

A Rosewood bridge that carries an experiment: The

G and B string have been mounted with a button that

in fact works the same as a string holder. The advantage

of this way of stringing a guitar is that the strings will

make a better (steeper) angle over the bridgebone.

A tasteful headform but strangely enough the distance

between the tuners is a bit larger than normal. The tuners

installed now are not original and are of a poor quality.

But still I have to make a solution for this odd aberration.

I've ordered three in line tuners that can be separated

by sawing them in order to make individual tuners

again and add an extra screw to mount them.

On the more expensive models an ebony line has

been mounted in the neck. Probably not neces-

sary as the neck is still straight after 45 years.

The sound is quite similar to the wellknown

Kohno concert models of that time. Deep bass

notes with a warm high end that is in a good balance.

Maybe it lacks a bit character compared to the real

top but the prices (and sound) of these instruments

were related to a near top quality guitar.

On this picture you can see how I brought up a solution

for the strange distance between the string rollers, not

the common 35 mm but 38 mm.

Some marks can be determined here as well in the

soundboard but on a rather cheap guitar as the "lower"

P50, the choice for a Brasilian wood bridge is quite odd.

A new bridgebone has been placed as well. Inner gluework

is very neat but no inner heel has been provided with this

instrument and in that way you could compare it with the

Juan Orozco model 8 guitar though the Tamura has more

qualities regarding sound. Just check the Blog I made

about the Juan Orozco guitars regarding Japanese guitar

models and their way of pricing them. A model P 50 from

1972 could be easily compared with a model P 100 from 1978.

From a Japanese source I found out that the two Tamura

brothers did have a disciple: Mitsuru Tamura is one of the

founder of Asturias guitars, he is an interesting character,

a national athlete on clay shooting and a noted golfer and

bowler as well as a great player.

Hijos de Vicente Tatay

The repair under the bridge can be seen by

clicking on this picture.

Now matched up to the color of the rest

of the soundboard.

A factory made guitar from Hijos de Vicente Tatay from which

a lot of examples must have been made. The same models were

delivered to the Ramirez company in Madrid. Those guitars can

be recognized having a dark blue label. As one of the former

employees told that apart from the whole bunch of guitars from

Valencia some bags of rice were delivered as well as there

was shortage of about everything after the civil war and the

second world war. In order to make a decent instrument of it

I was forced to redress the frets which were made out of copper

and showed file traces as was common on these student guitars.

The next move is to remove the ugly varnish on the fingerboard.

Now it looks fresh again and feels better though not entirely

original. The insert in the ladder braced soundboard is in fact

exactly in the seam of the two halves. Not even centered.

Another thing to be done was to reshape the roughly

modelled bridge as it came off allready and I wanted to lower

it in order to study the effect of it.

This picture shows us the walnut wood used for back and

sides. The crack in the lower left corner will be repaired

in the near future. No problem fixing that. As for the insert

in the soundboard: It can be brought back into the color of

the surrounding wood with a water based stain.

Shown here is the typical construction found in Valencia
of the neck to body. The lighter wood is the wittnes of it.

The rosette exist of simple concentric circles and some

"higher end" models show a slightly more decorated one

but the rest of those guitars in fact show the same mediocre

materials. That these guitars sound pretty good has a lot

to do with the resin in the wood that in fact cristallizes over

time and makes the top even more vibrant.

The typical label of the fifties can be studied here.

Presented here is the dark blue label used in the Jose Ramirez

branded student guitars of the fifties from the past century. In

fact Valencia imported instruments as the excerpt from the

Manuel Rodriguez book here beyond attests.

Hijos de Vicente Tatay (Mahogany soundbox)

The recently added Spanish guitar with the frets removed

as the action was too high and the thickness of the fret-

board is bigger towards the head. There a part of the so-

lution can be cured. The bridge is way too heavy so that

part will be sanded down as well to normal proportions.

A little more elaborate rosette completes the 3 pieced

soundboard. Scale 650 mm. This instrument also is

equipped with a ladder bracing.

Often these guitars are executed with walnut sides

and back. On this example they used mahogany.

The fingerboard is made from a dense hardwood but

not really detectable. Spruce topped soundboard

in three pieces as often was the case on the cheaper

Valencian made guitars. No fan strutting, just a

simple transverse bar just below the soundhole.

A little bit clumsy glued, the label just came loose

but that was the opportunity to have it properly photo-

graphed. Bofill & Roig were only exporters. Of course

we are curious in how this guitar behaves alongside

the walnut example here above.

And the somewhat more elaborated rosette. After a set up

with new strings this example from Hijos de Vicente Tatay

prooved to be sounding way better than the one here

above. That one has been sold recently: You simply

can't keep every guitar you're laying your hands on!

Want to know more around this brand and in general

about the Valencia made guitars, just check this site:

www.guitarrasvalencia.wordpress.com

High End "Vicente Tatay Tomas"

This company churned out tons of student ment guitars

from about 1958 onwards. A more precise dating can be

done by observing the label. It will be explained.

Most student guitars from the first Era were supplied with a

sort of "Torres" headstock but simplified and less graceful.

This headform can be found on the intermediate instruments.

Fretwork never seemed to be the first option for Valencian

companies in making a finely playable guitar. Often the

copper frets were there. It was not on this one but after

placing the frets, flattening out then was their last move,

so no crowning as that was too time consuming.

A rather small scale! 640 mm.

Surprisingly was that this example was equipped with a

narrow grained quality top that even could have been used on

a fine concert instrument. The rosette also was a step above the

quite common concentric circles. A bit damaged but stable.

A closer look will learn that the colours of the rosette nicely

match the darker colour of the soundboard that is solid as

one might expect from a decent Spanish guitar.

The transvere bars were interesting in a way that I've only came across

this modelled bars in a high end Francisco Esteve / Manuel Adalid

guitar. To my opinion not a coincidence, as the knobs on the tuners

also do resemble the Esteve / Adalid guitar in this Blog.

Difficult to investigate on this picture but I think the bridge

to be made out of Brasilian rosewood as could be the finger-

board and headplate. The covering of the string tieblock is

a later addition.

This guitar already has a whole life behind itself as some

crudely made restaurations attest. I always try my best

but on the other hand things that happen during a guitars

lifetime might be showed as well. I made an insert

in the outer heel of this guitar as it probably got damaged

by falling behind on its' back.

Also the centre inlay in the back is a sign of a

higher end guitar. I was very curious to learn how it

would sound and that was no disappointment!

In order to clear things up a bit I kind of "shaded" the heel

with a waterbased stain. After that the varnish comes of course.

Inlayed on the sides as well and lined with a rosewood strip.

When the guitar's neck on the label is pointing to the

right the guitars are from before 1973. After that the

head is pointing to the left.

Want to know more around this brand and in general

about the Valencia made guitars, just check this site:

www.guitarrasvalencia.wordpress.com

Vicente Tatay Tomas (Around 1960)

Presented here is the fully restored Vicente Tatay Tomas.

Regarding sound I figured it would be worth all the trouble.

You are able to enlarge this picture by clicking on it.

The "Vicente Tatay Tomas" label with the addition "Vitato".

The picture here above is all about the different labels used

and the period of time when they were sticked into the guitars.

When refinishing these guitars it gives you the

possibility to make the guitar free from scratches

especially the head as people tend to place their

instruments against a rather rough wall.

Is this walnut or mahogany? Difficult

to determine for these guitars as walnut

has a very different appearance.

The extra nineteenth fret has been added for

the "demanding pieces". I've modelled the bridge

as well. Checking the surface on which the bridgebone

is mounted is a must. After that process the bridge can

be lacquered again. Bridgebone as well as topnut are

made out of antique ivory.

A good angle over the bridgebone to assure

enough downwards pressure. The fingerboard has

been shaved a bit towards the head so playing comfort

together with the new frets is better than it ever was.

On this picture the narrow grained soundboard can

be admired. It even has that much wanted "silky pattern

in fact not common on these kind of lower end guitars.

But as we know the student Jose Ramirez were built

in the same factory simply for the sound it provides.

Fretwork is where these companies did a mediocre

job. Copper fretwire and after flattening them they

never were rounded again in those days. That is in

fact a must to obtain maximum playability. These

new nickel / silver frets are more substantial and thus

enhance the tone of a guitar. Also because of the fact

they are glued with a two component glue while the

too soft fingerboard wood dampens the tone with

less sustain a s a result.

The back of the head that is like new again.

Same thing counts for the front. The metal rollers

can be studied here which places this guitar around 1960.

Sound is typical for the Valencian School. Firm basses,

warm and full of character but now with a much better

playability.

The typical use of a lighter piece of wood for the heel can be

studied here. As this softer wood was easier to work on it

was the way to speed up production processes.

This was the guitar when it came to me in its'

unrestored condition. Neglected but with no

structural damage. But seeing the fingerboard

with its' traces of fingernails something had

to be done.

The guitar with all the lacquer removed. Mind you,

this must not be done with sanding paper as that

makes the components thinner which is not the way to go.

Simply paint remover. And after the old frets removal

a correction has been made to make the right angle:

neck / body which ensures a better string action.

As the soundboard is a soft wood scratches will

happen of course during a lifetime but when not

too deep removal is easy. The bridge had traces of

sanding and filing. It has been removed as a lot

of bridges tend to be pulled up often because

players had putted a set of steel strings on it.

That is a "no go" area!

As there was a limited amount of time the factories sometimes

stained the bridge shortly before glued on the guitar. That causes

traces of stain on the wood of the soundboard as woodglue

contains water.

The old situation again. And it is understandable that

the tuners had to be cleaned. Width topnut: 50 mm.

Scale: 645 mm.

Here the sleeves for the rollers were uneven in length

but that can be cured of course before the lacquering.

The word "VITATO" exists out of Vi(cente) Ta(tay)

To(mas) but why they've added that?? Probably because

his brothers had labels with the same name,

And the label. A lot of Valencian labels can be found

on my friends site: Simply search for "Telesforo Julve"

or his site can be found nowadays under:

www.guitarrasvalencia.wordpress.com

Oscar Teller guitars 1971.

This is an Oscar Teller Classical guitar from 1971. One of their
highest models then. Fairly well played! This guitar is immediately
recognizable by the double inlay on the head. In a Mason Williams
video, published by Vintage Guitar Magazine, Mason shows the
guitar on which he recorded "Classical Gas'. It was labelled
"Cordova" but as he explains there, it is built by Oscar Teller.
The example here above is newer but the head inlay remained
as did the edge inlay of the soundboard, the rosette and
the inlay on the bridge. The inlay around the back on this
guitar is more luxury done but the double ebony stripes on
the back are not present on this example.

OK. The guitar needs some restorations but all in all it can be done and a lot of things are more cosmetic.
This guitars' own frequency lies on a G# so in Hz that
would be around 104 Herz.

The label, always with the model, year of manufacture and

production number, visible on the next picture.

The back has some disturbing damage but only in the

lacquer so it will be no problem to fix that properly.

I restored it with French polish and it is beautiful again.

The same thing counts for the soundboard. No cracks

but a bit unrespectfully treated by its' former owner.

The soundboard has been equipped with a fan bracing

but not symmetrical: fewer braces on the bass side and

thus more on the treble side of the soundboard. On

both halves closing ribs have been added. Finely

shaved and securely placed.

Here the mounted tuners can be seen. Good quality

but a better fit is needed to have them work smoothly.

Probably made by Schaller. Rubner claims them not

to be produced by them.

A nicely decorated head, probably inspired by the way

the Japanese luthiers worked at that time and were success-

ful with it. A good cut topnut anyway. The front has been

veneered with an ebony layer.

The Rubner company also made cheap tuners that in fact weren't

bad at all. These are more deluxe tuners that match the further

quality of this guitar, probably from Schaller?

An inner Spanish heel and nice inner woodwork as can be

expected from a German company existing that long.

The rough treatment not only resulted in various needless

scratches but also a (repaired) crack in one side and an

open crack alongside the gluing surface of back and

sides. Some extra inlay work wil be needed.

With a little effort you can see the interruption in the upper

lining. I made the three part lining new as it was broken and

visible in the first picture of the spot.

In fact the most difficult spot to remove the lacquer

properly. With patience, it works in the end.

A freshly sprayed back that "shines" again. About

8 layers of Alkyd lacquer were needed. Only recently

I French polished the back for an even better result.

Also the entire neck and head have been resprayed.

Now it is a kind of a monument for me as Mason

Williams played one when he performed with the

extraordinary harp player Deborah Henson Conant.

Exactly the same model! The guitar gives that

surprising warm lower end though the higher notes

(above fret 5 of the highest string) could have

been a little more convincingly but it is possible

that intensive playing changes this.

Here above, Mason Williams can be seen with the same

guitar in question. Watch the smart move in the way he

carries the guitar.

A detailed picture I've added in order to compare the bridge, edge and rosette with the guitar I recently was able to obtain.
I will come up with a detailed picture of the bridge as somebody
suggested it to be a Hauser copy and indeed the bridge is very
close to the model that can be found on the genuine Hauser II
guitars of that time.

The way the topnut has been mounted is visible here as well as the tuners of which the knobs are riveted.

The bridge form differs from the usual Spanish way of

making a bridge: A bit more square around the bridgebone

and a less wide string tie block not parallel to the sound-

board. I've added these pictures as coincidentally Hauser

guitars of that Era seems to be occupied with the same

bridge model. Good company anyway

Made out of ebony they are very sturdy but in order to have

a near perfect octave pitch I removed the contact area to the right

which in fact is not customary. Problem indeed can be a kind of

rattle coming from this way of constructing. Not present here,

Also the two inlays seems to be identical to the Hermann Hauser

models of that time. Beware and take a look at the first name

as Hermann Hauser is a totally different guitar compared to the

somewhat less interesting Karl Hauser guitars.

Louis Theress Guitar

Recently I obtained this guitar at an auction in England

I was captured by its' sound and the high degree of work-

manship. Already in playable and restored condition.

Maybe the "LaCote" shaped headform triggered me.

Opposed to many 19th century guitars the sides and

back haven't been veneered on the inside so solid

pieces of rosewood are used here along with a fine

grained table. The neck has been veneered with

an ebony layer while inlay work is meticulous.

Bindings, also on the back, are executed in ivory.

Special attention for these well working tuners as these

can also be found on some Antonio de Torres guitars.

The shape of the knobs on the tuner can be found later

on the Robert Bouchet guitars and ironically keep

popping up, also from Chinese manufacturers.

It is no surprise that the builder although French had his

shop in London and was a successor of Jerome Gerard.

Theress also had a shop in Paris so French after all.

Most likely still the original bridge.

The LaCote style head and slot execution.

Also the neck to head joint betrays skilled

workmanship as this ornament has been

veneered with a layer of ebony afterwards.

The execution of the heel is pointing towards the London

dealer / luthier Louis Theress, a pupil of Gerard who had

a workshop both in London and Paris.

The lining can be studied by clicking on this picture.

And here beyond of course.

Jerome Thibouville Lamy

Frontview of this small bodied guitar that was
probably manufactured around 1870.
The flowermotif was quite popular at that time
in the collection of this factory that produced fairly
large quantities of all kinds of instruments.

Here's a description about this builder and the connection

with the Mirecourt based famous luthier Aubry-Maire:

Aubry fils is the son of Aubry-Maire, the famous guitar

maker of Mirecourt. He worked in his father’s workshop,

then for Jérome-Thibouville-Lamy, and signed "Aubry Fils"

He died in 1890, at age 57. Jérome-Thibouville-Lamy

was the most prominent manufacturer of musical

instruments in France. It was founded around 1730, in

la Couture-Boussey, with the manufacture of wind

instruments, then moved to Mirecourt around 1760

and general numerous workshop consecrated to

violins, guitars, mandolins, and musical accessories.

The company would experience an immense commercial

success and opened branches in Paris, then London.

It would produce thousands of instruments of quality

that it would export to the entire world.

The famous and very durable EON tuners were fitted on
this instrument. Sides and back were made of Brazilian
rosewood. The neck of this particular instrument has been
lacquered black as was original. Quality of workmanship
proves to be good.

Jerome Thibouville Lamy Guitar II

This is a somewhat later Jerome Thibouville Lamy guitar

probably made around 1890 - 1900 though even in

the 1902 catalogues of this firm this model was present.

On Len Verret's site "Early romantic guitars" a

similar model can be seen but without its label.

As it is known that Aubry fils was working for

JTL this guitar can be dated but only if there

are marks in pencil by Aubry fils. I still have to

investigate. Spruce soundboard. Solid sides but

the back has the softer spruce inner side veneered

with Brazillian rosewood on the outside.

Ebony fingerboard with the original (!) hardly

worn fretwork but a laquered neck and head as

was usual on these instruments.

Even the back is in very good condition and it

is remarkable that there are no cracks in back and front.

The sides tend to have some minor spots but on the

inside the sides are reinforced.

This is the well known flower design that was popular

for a long time. We can see this on an Aubry fils

signed guitar as well as in the 1902 catalogue of JTL.