“The voice of the guitar must be something between the human and the divine” said Francisco Tarrega, and truly anyone who has had the good fortune to hear a guitar by Antonio de Torres will agree.
I have created three Torres models :
These guitars are based on the principles of the old Spanish guitar-making tradition.
On numerous study trips to France, England, Italy and Spain, I was able to visit museums as well as private collections, and had the opportunity to not only view original instruments but also to measure them. I was particularly fortunate to have access to the collection of guitars at Cite de la Musique in Paris, where above all there are instruments by Antonio de Torres, whose lightness, great sound potential, deep timbre and tone colour left a lasting impression on me and gave me a goal for my future work. But I also wished to study those who followed Torres, including Manuel Ramirez, Enrique Garcia, Santos Hernandez and Domingo Esteso. While Santos Hernendez took other directions in his later work, Domingo Esteso remained true to the Torres school until his death.
Through research on original instruments and the study of historical source material, I was able to gain important insights into the correlation between the structure and the sound quality of these instruments.
Apart from the artistic aesthetic requirements, the functionality of an instrument is an important parameter for me. Each component of a guitar affects its character and sound. In the photo on the right you can see a finished spruce top with bracing. The “secret” of a balanced and sustained tone is the careful formulation of the top. By taking away from mass, controlling the longitudinal and transverse flexure, and by light analysis I arrive at a soundboard that has all the complex sound characteristics that are necessary for a Torres guitar. The bracing helps the tonal balance between the treble and bass.
In the sound analysis article you can see two analyses which show my work scientifically. For the study, an original Torres guitar (La Leona) was compared with my Torres guitar. The frequency analysis shows that mine has the same sound phenomena as the Torres. Even more striking and easy to see are the colour graphs which show the individual amplitudes.
In contrast with today’s modern classical guitar, the frequency (Helmholtz resonance) of a Torres guitar is very low; an F# or even lower to a D on my Torres.
I am often asked to describe the sound of these guitars. The sound is like a cello in the low range, like a viola in the middle range, and in the treble like a woodwind instrument, a clarinet.
Through years of family tradition, we have a small stock of fine wood which dates back to the 1940s and earlier.
Top: German spruce/ german bearclaw spruce
Back / sides : rosewood (for all used parts from rosewood there is a CITES permit), flamed maple or cypress
Other woods such as plum and cherry may be requested, subject to availability
Neck: Spanish Cedar
Fingerboard: ebony or rosewood
Tuning Machines: You may select from several different manufacturers:
Klaus Scheller ( Germany )
Fustero (Spain )
Alessi ( Italy)
Rodgers ( England)
Finish: French polish (high gloss)
Hans-Werner Huppertz plays on a 11 string Voigt Torres-Manjón guitar (Spruce top, back and sides black poplar).