In fact the first Silvestri I've came across. As you can't
hold everything you get your hands on, it has been sold
and in fact I was completely forgotten it!
In fact a very odd model with those two small holes in
the soundboard on either side of the big soundhole.
The rosewood sides in the lower bout makes it
special as well. It has been supported with a tail-
piece so this was in fact suited for metal strings.
A black painted neck and head but probably still
reinforced with a central placed rosewood inlay.
Another feature that allways is there: The black
cloth piece for dampening the strings.
I haven't been able to find a label but I think this model
to be quite a bit older than the model here beyond. So
my guess is it could be an Ermelinda Silvestri guitar.
This model is presented here in its' unrestored condition.
As the bridge hasn't been properly reglued the soundboard
can be relaquered as well. The kind of lacquer used here
"cristallizes" over the years and can be easily removed.
The inlay around the soundhole and along the edges
is all made of wood so no stickers and the fingerboard
has been cleaned allready here as are the frets.
As the frets are showing some file traces a
leveling job in fact was necessary as well.
The so called "zero" fret I left untreated. The neck could
have been relacquered as well as this kind of varnish used
tend to colour the neck in an ugly way but I just left it there.
This label has been used by Ermelinda Silvestri as well.
I don't know about the small label underneath it where
Silvestri states it to be built in the Spanish way. What has
been ment by that remains a mistery as the so called Spanish
fan bracing simply isn't there: There are two transverse bars
between the bridge and the soundhole and a kind of a
wooden bridgeplate underneath the bridge.
The bare wood that has been cleaned allready as is
the rosette here. Securely flattening out the bridge
area is a must for a tight fit for the bridge on the
soundboard. The soundboard is solid spruce. Back
and sides are made out of mahogany. A rosewood
bridge and fingerboard have been mounted on
this guitar that has a 645 mm scale.
Takeharu GT 500
These Takeharu guitar has been built with the utmost
care and a lot of information can be found on the
internet regarding this brand. Still affordable but
for how long?? Cedar topped and sides and back
are made out of Brazillian rosewood (veneered)
A picture of the stunning back. Also the ebony reinforcement
can be seen on this picture. Beautiful straight neck!
The head that hasn't got any flaws.
The label that has been signed by star classical guitar
player Yamamoto. The Kiso Suzuki company built
this beautiful instrument. Just take a look at Harmony
Central User reviews to see what owners have to
say and think about their Suzuki or Takeharu.
The sides that beautifully match the back.
Hiroshi Tamura P50
Guitars that were produced in the seventies and eighties.
These instruments are not that widely known as e.g. the
Masaru Kohno or the Juan Orozco guitars but they are
in fact soundwise no less. Very well built with even a
lot of similarities to the afore mentioned luthiers.
Ebony fingerboard and a 655 mm scale has been
used for this guitar that posesses a remarkable
sound reminiscent of a real concert instrument.
Veneered back and sides that appear to be Brasilian
rosewood to me but a very narrow grained solid
soundboard that has been strutted very traditional:
A seven fan placed pattern with two closing struts.
The top has been glued to the sides with blocks
the way the Spanish luthiers tend to work.
This guitar hasn't been taken care for in a proper way
by looking at the damages on the right. These cosmetic
flaws will be treated in the near future as this 1972 guitar
survived time in a remarkable way.
A gracefully designed headstock and the odd thing here
is that the standard distance between the axes of the
tuners, 35 mm, is not present here. The former owner
had to make a move to some very cheap and poor
working individual tuners when the original tuners
were not in a working order anymore. Strange thing
is also that a rather cheap plastic topnut was mounted
as well on this guitar. I've changed it into an ivory
one of course with a proper spacing. The tuners will
be changed as well to good working ones.
Some marks and be determined here as well in the
soundboard but on a rather cheap guitar as the lower
P50 probably was 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.
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.