Alhambra 9738 semi-rigid guitar case included. Internal ebony reinforcement in the neck of the guitar. Concert size. The tightness and especially the evenness of the grain in the Cedar Top is exceptional. And the workmanship here is flawless: the guitar has a classic beauty, fineness of finish and warm color from the various woods. The ingredients of the 11P all come together to produce a powerful, full-bodied sound. However, the most important feature of this model is the heel: it is made of 5 different pieces whilst other models are composed of a single piece. There is also an additional green line in the binding and inlays. Add to that luxury gold-plated tuning machines that hold the tuning as straight as a die and you find yourself with a ‘signature model’ at the top of the range. You will see that the 11P’s fingerboard is longer than that of a standard classical guitar: it goes over the sound hole in order to introduce an additional fret - the 20th fret - which expands the instrument’s range and enables maestros to play all of the musical pieces they are required to.
The model 3 "Siguenza" and model 4 "Guijosa" are the main instrument now in production.The Alhambra 11P from Alhambra Guitars is made entirely of solid woods: an Indian rosewood body, select fine-grain Western red cedar top and opulent dark ebony fingerboard. Planning began in 2004, and the first Guijosa guitars were to follow shortly. Every moment during my time in the Siguenza workshop my eyes were taking in theĭuring discussions about Torrres and Hauser guitars in Spain and England with Jose a new model 4 was conceived. Mod 4 is named Guijosa after the village in Spain where these meetings I took the opportunity to work with both Jose and Liam to learn the techniques they use. These were eye opening events in my life where many of my ideas were confirmed, and refined by one of In 2001-2002 I made guitars under the direction of Jose and Liam Romanillos at Siguenza Spain. Of course there was more to it but these are the basic experiments in music. These strategies wereīriefly situating the strings parallel to the front, thinning the edge and making a dome of the front. It was at London that the model they taught (mod 1) was transformed by some strategies into my model 2 that was successful making almost 200 guitars. where I was taught by H Schwatz and M Gee and a well designed education in the relevent Years later I studied musical instrument technology at London College of Furniture now London Met. I took a carpentry apprenticeship to learn the tools and begin to get a grasp of wood grain. Began making classical guitars in 1979 finished in that year working from library books.
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