Juan Estruch Guitarra Blue Labelfasrdial

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Juan Estruch Guitarra Blue Label 2017 Sold $200.00 1 Bid, FREE Shipping Estimate, Click to see shipping cost, eBay Money Back Guarantee Seller: timilovesguitars (40) 0%, Location: Richmond, Indiana, Ships to: US, Item: 44 JUAN ESTRUCH Classical Guitars were made in Barcelona, Spain. Juan Estruch Concerto model 2 1972 / Juan Estruch 1920 / 1930 A 1972 Concerto II model of this Barcelona based. In fact a factory made instrument but with the. Quality of a hand built one. In pristine condition as it has. Hardly been played. 645 mm scale and a traditional.

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Save juan estruch guitar to get e-mail alerts and updates on your eBay Feed. + Items in search results. 2006 Juan Estruch Gran Concierto Especial Classical Guitar. LUTHIER JUAN NOGUERO. Buy It Now +$85.00 shipping. RED GUM FLAMENCO GUITAR JUAN MONTES SPANISH GUITAR CASE 2019. Crafted in Guatemala, Zacapa Rum is a work of art, and an expression of patience, richness, quality and master blending. Aged to perfection in the highlands of Quetzaltenango, Zacapa Rum develops its complex flavour and character 2,300m above sea level in the mystical House Above the Clouds.

Sold$200.001 Bid, FREE Shipping Estimate, Click to see shipping cost, eBay Money Back Guarantee

Seller:timilovesguitars(40)0%, Location:Richmond, Indiana, Ships to: US, Item:282697488744JUAN ESTRUCH Classical Guitars were made in Barcelona, Spain. They are a very high quality instrument. Many claim that the one they have or had is the best sounding classical guitar they have ever played or heard. At the time of this listing there are 4 here on eBay. They are priced at $1,800, $2,500, $3,450 and $4,000. My friend who is also the greatest guitarist I know tried one in Cincinnati, which he said was far superior to his 1A Jose Ramirez in every way. It was priced at $7,000. Now this guitar is not full size. I bought it thinking it was, as the eBay seller did not provide measurements or mention that it was under sized. I do not know if it is some sort of special Spanish model, or a young student model, or what. But here are the measurements in inches: Over all length: 34 5/8' Body Length: 15 1/2' Nut width 2' Upper bout: 9 1/2' Lower bout 12 1/4' Scale: 21' Sound Hole: 3 3/8' Body depth: 3 7/8' So you can see it is shorter with a smaller body, while other measurements are standard, like the body depth, the sound hole and the top nut. You can see from the pictures that the guitar is made from the same quality solid tone woods, has the same label, has the same type of body binding, the same headstock as most models (the headstock and label changed over the years), the same level of craftsmanship, etc., but is simple smaller in size. Very interesting. Possibly a rare collectors piece. There are scratches and small dings everywhere, but nothing major. It appears to be all original with no repairs. There are no cracks as with several models. It is in very good condition I think for it's age and comparing it to several others made by the same luthier. I have no idea of the guitars value. So I will start the bidding at $200 and let you decide, with no reserves on the listing. Sorry no overseas bids.Condition:Used, Brand:JUAN ESTRUCH, Country/Region of Manufacture:Spain, Body Type:Standard, Model:Juan Estruach, Dexterity:Right-Handed, String Configuration:6 String

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JUAN ESTRUCH Classical Guitar, Barcelona, Spain, Vintage

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Classical Guitars

The classical guitar, used in classical music pieces, is one of many guitars that has evolved and changed. Differing musical compositions, styles of play, and materials of construction differentiate the classical guitar from other guitars. With roots dating back as far as four centuries, contemporary classical guitars let you play beautiful music.

What are the features of classical guitars?

The classical guitar is an acoustical wooden guitar with the following features:

  • Strings: These guitars use soft nylon strings.
  • Body: The eight-figure shape is a classical body shape. It has a scale length of 26 inches and an overall length of 38 inches to 40 inches.
  • Frets: Classical guitars have 12 frets.
What types of materials are used to make classical guitars?

Juan Estruch Guitarra Blue Label 2017

Classical guitars are stringed instruments constructed of various woods that are chosen for their grain qualities, stiffness, and finished tone. Different woods can be used to construct each part of the guitar, including the neck and head, fingerboard, top, sides, back, and bridge. Some of the types of wood used to construct classical guitars include: Tokyo ghoul game pc download.

  • Ebony
  • Rosewood
  • Mahogony
  • Blackwood
  • Spruce
What types of strings do classical guitars use?

Classical guitars use nylon strings that produce a soft sound. Nylon strings have replaced the cat gut strings that were used on earlier classical guitars. Nylon strings are also softer on the fingers and allow you to use your fingers as picks. The string-load tension on a classical guitar is somewhat low, allowing the player to easily press the strings to the fretboard.

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How can you store a classical guitar?

Fl studio pattern not playing. Because a classical guitar is a finely tuned instrument crafted from natural wood, it is important to store it properly to preserve the guitar. Proper storage techniques include:

  • 1. Ideally, keep the guitar stored at a steady temperature of 65 to 75 degrees Fahrenheit and at a 45% to 55% humidity.
  • 2. Never leave the guitar near a dry heat or dry air source. You should also avoid leaving the guitar near any water source indoors or outdoors Both of these steps help to maintain a proper humidity level for the guitar.
  • 3. When not in use, store the guitar in a well-fitted case with a weather seal and hard-shell exterior. When traveling with the guitar in the case for long periods of time, you might consider placing a two-way humidification system within the case to prevent drying.
  • 4. Use a chamois cloth to gently wipe down the finish of the wood to remove fingerprints and oils from your fingers and hands after playing.

luthier. In fact a factory made instrument but with the
quality of a hand built one. In pristine condition as it has
hardly been played. 645 mm scale and a traditional
7 fan bracing with no closing ribs. Individual blocks
are used to glue the top to the sides. The spruce top in
cause cracks alongside the fingerboard as is the case
with this guitar but luckily not entirely through the
Juan Estruch Guitarra Blue Labelfasrdial
very complete and even. Good woodwork inside.


Quality of the woods used is great although indian rosewood.


The Torres head and the strange 'bulb' above the top nut.
I used this move on an old Juan Estruch in order to be able
to place a 64 cm fingerboard instead of a 65 cm finger-
board that in fact was original but gave a wrong octave pitch.
The tuners are of a cheaper quality but they are real

A quite heavily decorated bridge.


Careful examination learned me that these are
So well known on almost any top quality
company is out of business what makes

The pattern of the rosette has been repeated in the bridge
stringblock. The Concerto series are still around but it
remains questionable wether their qualities still are the
same as a lot of machinery took over some proceedings.

Juan Estruch ( around 1925 )

A fairly old Juan Estruch but with the round label the
company used from 1920 until 1954. Adress: Calle Ancha 30
Barcelona (Source: Romanillos). In the mid twenties of the last
century Juan Estruch Sastre imported wood and materials
(from 1919) and guitars (1923-25) from Telesforo Julve
and by seeing the typical bridge inlays this could have
been one of them. Even the carving of the bridge is identical
to the TJ bridges. This is more than a coincidence!


It is obvious the guitar has 'lived' and will be brought back
to live though there is a lot left to be done. In fact the Rosette
shows us a nice wooden inlay so no concentric circles only!
Funnily enough I found the exact same rosette on a Telesforo
Julve guitar and with the same executed extended fingerboard -
no coincidence of course! This guitar has a three piece




The back and sides are making this guitar even more
remarkable as one can conclude the wood to be walnut
but of a higher quality. A cedar neck with a fingerboard
of a strange reddish color but dense enough to do a good
job! The same wood I have found on my Telesforo Julve
from the fifties. Soundboard is spruce, fairly wide grained.
The soundboard is supported by a 5 fan bracing but all
quite close to each other. The inner heel shows a higher
standard than was usual in the Telesforo Julve guitars.
A 'Torres' kind of head form, Estruch later used for the
Concerto series. Wether if the tuners are original I really
do not know. The headstock is nicknamed: 'shouldered'.
But in fact a bit crudely shaped so I will make some
corrections to it though I know: not original anymore.
so that's the reason I will reshape it.
I decided to proceed the restoration from this guitar as
the sound is surprisingly good and complete. However
the markings at several places on the back of the neck
relaquer the neck and head. As the head was not treated
that well I had to remove some damages and decided
to redress the head as a whole to a more Torres-like
approach. Thoroughly cleaning of old tuners in fact


The typical 'Valencian' way of constructing a heel.
The heel is rounded and that would date the guitar
between 1909 and 1945. ( If this is a Telesforo Julve.)
Please note that Marcelo Barbero also used this way

The tuners from which it is questionable if they were
there at the birth of this guitar. So, what to do first:
As the transverse bar under the fingerboard came off
the guitar already had a bad playing action but even
after repairing that it will not solve the whole problem.
The back is partly loose so the invitation lies there:
Juan estruch guitarEstruch
'Remove me please' then it will be possible to lift the
soundboard a bit with a reglued brace. A neck reset is
heel is allways a bit of a problem. These tuners have
been spot as well on a 1920 / 1930 Juan Estruch so
it could have been possible that some guitars were
really high end model of the company.
A remark should be made here about the way of mounting
the well known button / worm gear invention as that hasn't
been always the same! Roughly between 1910 and 1920
the way the machine heads were mounted changed. Here
above presented is the way most companies are doing it

Juan Estruch Guitar Value

nowadays but before 1910 the worm gear was mounted
closest to the guitar body and the cylinder or capstan
followed. The same can be concluded when looking at


On this picture the rather strange 5 fan bracing is visible.
Strange in a sense that the 5 bars have been placed quite
close to each other. Another remarkable feature is the
strengthen the two seams of the 3 piece soundboard.


The brace left most likely got loose and as a result the
fingerboard 'moved' under the string tension as can be
seen in the sound hole. Obviously the soundboard as


Maybe not that interesting but for two reasons I've included
this picture. It shows an end block which is quite similar to
those that can be found in the Telesforo Julve guitars and
besides that 6 rather crudely shaped clamps in order to
strengthen the two seams of the 3 piece soundboard. The
same feature I found in my fifties Telesforo Julve that
has a 3 piece soundboard as well. It is even questionable
wether if the builder did this on purpose as there are also
three piece soundboards on some Antonio de Torres guitars.
Exactly the same shaped end block in my fifties TJ guitar.
It would have been logically that with the loosening of
the now visible transverse brace the soundboard cracked
along the fingerboard as a result of string pressure but
after having removed the fingerboard it became obvious
that the so called cracks in fact are seams of the middle
part of the soundboard. There was no other way to make
a proper correction of the 'moved' soundboard piece
Now the bit deformed whole neck setting as a result
original position. Another problem remains the scale
of the original fingerboard: 650 mm as the distance
the 12th fret to the bridge bone 320 mm (!) Partly due
to the deformation of the whole neck area but also a
not properly glued bridge distance! I have an ebony
I can place that instead of the original and still have
And remember: In former times there was not taken
care for a compensation as string height was usually


I will close the seam on the right properly and make an
insert left as that part will be covered by the new fingerboard.
Securely flattening out this area and comparing
it with the rest of the neck is very important now
as I decided to place the frets before gluing the
for hammering in frets even with a decent support.
I have a 19 fret fingerboard now which is very suitable for
the more demanding musical pieces. As I explained earlier
the scale is now 640 mm with a compensation from the

As the earlier fingerboard had a scale of 650 mm I had
to make a solution for the top nut. If you take a closer
look at the first Juan Estruch presented in this blog you
can conclude I used their own method to solve this
the top nut so the new situation has a natural look

The twelfth fret is a fraction more reachable now but
that can play an important role in some musical pieces.
Next step is to glue the back in place. I think it has to be
Juan

Juan Estruch Guitar

shortened by around 2 / 3 mm for a proper neck reset
and that won't be a big problem.

The back has been placed and glued. The top has been
treated with a greyish color remover for bare wood and
that had a significant effect on the color of the top. The
sound after putting the strings on is typical for the Valencia
guitars but compared to my fifties Telesforo Julve it
has more power in the higher notes. The guitar is not
'shining' (brightness of the higher notes) the way my
Jose Ramirez 1945 does but that can have two causes:
The top still has to be relaquered and the guitar needs


Not yet the 'final' result as the binding on the back has
to be redone partly: Gluing on an existing back and giving
the instrument a slight neck reset at the same time means
an inevitable unevenness at some spots. But the top is
relaquered now. Most of the time I polish the varnish
after about a year as only then you can get the amount
of brilliance in the lacquer you want because the lacquer
has to be hardened out. I used an Alkyd lacquer that
indeed adds to the brightness of the higher notes and
can be removed quite easily if there is a need to.


The relacquered back. And the sides have been done as
well as the old varnish gave the wood a more yellowish
appearance and that wouldn't combine with the varnish

The result makes it obvious that walnut has a beauty
of its' own. These quality of walnut is simply different
from the later Spanish study guitars of the sixties and
seventies. The binding has been done by Bram Waque.

Maybe I will come up with an added strip between the
outer heel and the soundbox as that has been a bit crudely




The back of the guitar in combination with the rest.

Juan Estruch Classical Guitar



In fact there were still two problems: The bridge was constructed
quite heavy and too high for a good playing action. Apart from that
the holes for the strings in the tieblock were placed too high.
As a result the strings didn't make a proper angle over the bridge
bone and were still too far away from the fingerboard


As the fingerboard has been replaced with an ebony one I decided
to make an ebony bridge as well though less high as the original
one as the weight of a bridge has a negative influence on the
sound of an instrument. The Telesforo Julve strips are there!
It is a very nice playable and sounding instrument now with
a bit of a narrower neck suitable for some pieces.