Thank you! Wood ID can be tricky and it can sometimes be hard to tell the difference between the two (mahogany and cedar) but so far it seems to me in my experience with these guitars, he definitely either favored mahogany or it was what he could get. My inclination tends toward the former

Thank you!

Thank you. That is very true about Maestro Aussel, I corrected my mistake in my description in the liner notes of this video. In any event, I am glad you enjoyed the video and thank you again

Thank you! So glad you enjoy the video!

Thank you!

Yes. Feel free to email me at [email protected] thank you

At this time of writing, yes. Please email me at [email protected] to discuss the instrument further. Thank you! Aaron

Most guitars end up getting set up here to be at 3.5-4mm on the bass side (depending on a few factors) and 3mm at the treble maybe a hair under.

@@aarongreen7556 Thanks, that lines up with what I’ve seen and where I enjoy my own Hauser style guitars setup at.

Thank you! I don't know much about Monch particularly other than that which has already been written. That being said, I have a guitar of his from the early 60's that belonged to Albert Augustine. It was given to the father of the previous owner by Augustine (who was Augustine's personal physician). Needs some minor restoration but it will be available for sale in the not too distant future.

@@aarongreen7556 sounds nice! I have a '59 of his.

They are certainly among the rarest although thankfully there are a number of excellent extant examples out there. One reason I felt it important to create this video is that among the Hauser mythology is this idea of a very static design with verbiage that is kind of meaningless..."the Hauser sound" for example. While there certainly is consistency in these guitars, that which I would ascribe as "the sound" is one of how it the voice is composed rather than where it lands on the bright/impersonal vrs lush/romantic scale. Anyways I wanted to convey the range of his work over the years and that when building guitars out of wood, you are always working to what the materials need rather than making them directly conform to you...which would be the implications of a truly static design.

Thank you. I have two guitars of my own in stock (2013 cedar and 2015 spruce/cypress). Happy to discuss commissions too Thank you Aaron

Glad you liked it!

Thank you!

Thanks Scott!

Thank you for your kind words and don't hesitate to reach out if there is anything I can do for you!

Glad you enjoyed it!

Yes the 1936 Hauser in this video is a Segovia model

Thank you for your comments. Perhaps it speaks the the individual nature of each instrument but I rarely find that all else being equal speaks to the voice or the feel of any instrument. That being said, I agree the visual beauty of the materials are always a lovely addition to the raison d'être of the guitar as a musical instrument. Certainly it speaks to my own heart as a luthier. As such I will do my best to bring that into the discussion. Relative to the continuation of the Hauser lineage and the work of both Hauser III and Kathryn Hauser....they are very much among us as living builders and I am of the opinion that I have little to offer that they can't speak to better themselves. Other than to say they are admirable contributors to a very impressive legacy. But when I have a guitar by either to represent, I will definitely be speaking to the actual guitar in my hands and how I feel it best exemplifies the tradition of their predecessors.

Aaron, thanks for your reply. I’m very much a fan of your posts on guitars and the videos. A guitars voice? Yes, yes, yes. Aesthetics? I’ll vote for both. Doing your best to bring that to the discussion? Yes you do!!

Thank you!

Wonderful

Thank you!

Glad you enjoyed it!

Hi Thank you for your kind words, greatly appreciated! To answer your questions, I generally use a combo of Augustine trebles and La Bella 2001 series basses. Most common would be the Regal trebles paired with medium hard basses. For lighter tension, Imperial trebles with medium 2001 basses. I like La Bella trebles very much and use them esp on my flamenco guitars or where I want more clarity and brightness to the trebles, Most guitars are made with an arch to the top, either by bracing it that way or simply arching the bridge which will pull the top into a bit of an arch. Why some tops are more affected by the torque of the string tension has much to do with the top bracing, top thickness, string height and the tenacity of the materials. As Robert Ruck said to me almost 30 years ago though, an arch is an arch. If the top has a dip in front of the bridge as many often do with enough time, that is in fact an arch. So while people think that it demonstrates structural failure....within reason it should not be viewed that way. Entirely collapsed is another matter of course and in all things, it just depends.

Thank you!

Hummm... need some clarity... are we talking flaming hot Doritos or is this some kind of lowball Hail Mary?

thank you! glad you enjoyed it!

Thank you!

thank you!

thank you for your kind words. The strings are Augustine Regals for the trebles and medium hard 2001 series basses by La Bella. This is a go to combo for many of the guitars I have. The mics are something Chris can answer but they are good ones for sure. In terms of comparison with a real Torres, I represented one last summer that was my favorite yet and this compared very favorably indeed.

Thank you!

Agreed! Hopefully there is a great Hauser I in your future and maybe a Green too :)

Thank you!!

@@aarongreen7556 This is Joel Henderson...Stauffer is my middle name. lol

Thank you Joel! Hope you're well buddy!

@@aarongreen7556 All good, sir! Wish you could sell my Velasquez, so I could apply the money to a Llobet Model Hauser!

Working on it! That is a truly lovely example of his work by any standards so I think its just a matter of the right person coming by

Hummm...that sounds like a great idea. I currently have in stock my all time favorite Rubio, from 1969, when he was back in England but just before the advent of his workshop guitars (made by Paul Fischer). It's a monster and certainly flies in the face of the (misguided imo) concept that his NYC period represents his apex as a builder. I should also add in all fairness that the PF stamped guitars I have had in my possession have all been excellent, some downright spectacular.

Thank you and I will definitely look to doing that very thing.

Hi Jenny! How lovely to hear from you! It's been ages and I hope you and your family are well. Thank you for your kind words and I am very glad you still are enjoying your instrument. That makes me very happy indeed and would love to catch up with you some time! Much love, Aaron

@@aarongreen7556 If I'm ever in MA, I'd love to visit you in your workshop. And it goes without saying that if you're ever in my neck of the woods (literally, since I live on a tree farm in Minnesota) you are most welcome to come by and break bread with us.

Thank you!

Thank you!

Agreed!

Thank you!