1863 Torres Guitar played by Richard Brune.

[@fomomoto3]

Tony, you were kind (and crazy) enough to allow me to play this little gem at the Newport guitar show at the HardRockCafe a few years ago. I have to thank you again for that rare opportunity. The volume, dynamics and tone produced by it were literally astonishing, not to mention the physical response of the body when being played. A treasured memory, thanks again. Your obvious labor of love in restoring it and allowing other to experience it are just as admirable.

[@BorisBidjanSaberi11]

You’re a lucky fella

[@MONKLJ]

Man that is totally beautiful, rings back the guitars great sound from long ago.

[@baraskparas9559]

Great sound, excellent tremolo. Powerful rascuado. Good taste. Congratulations on your labour of love

[@stevepethel6843]

Awesome playing and interesting video...

[@mallorga1965]

It would be nice to hear it well recorded.

[@Guitarwizardjoinme]

Hi Richard, im still loving my Model 30-F Thanks for your great artistry.

[@pocoloco5160]

Very powerful small bodied guitar!! Torres experimented greatly: plantillas,scale lengths,woods,etc. The absence of braces and even the differing headstock design doesn't take away from the authenticity of the guitar. From what I heard directly from one of Mr.Brune's late colleagues was that Torres left clues (signs) inside the guitars.Let's just say similar to fingerprints.

[@trevjr]

Wow, amazing sound out of that little guitar!

[@opidacul]

coolllll thanks bro. this is incredible Richard Brune on a Torres, out of site man. thanks

[@rebruneluthier]

foglemam I have not published any drawings or tracings of this, but there is a nice interior photo of the top published in American Lutherie #97, and I did write an article on the instrument for Vintage Guitar Magazine in the May 2008 issue with photos both inside and outside.

[@vihuelamig]

I recently made a 'copy' of this particular instrument (hope Richard doesn't mind, or Torres for that matter). It really is a very charming model with a beautiful 'plantilla'. Torres design eye at it's best. The bass response is quite remarkable for such a small Guitar.

[@pocoloco5160]

After doing some research,this guitar looks more like a Manuel Gutierrez Martinez who I read Torres may have learned from.

[@jodyguilbeaux8225]

very bright sound, torres was the ultimate craftsman or luthier.

[@AshStrat1]

great sound , treble is outstanding and volume and bottom end is clear not muddy

[@refpo]

I'm intrigued by the bridge, no saddle yet the sound is 'brilliant'. I guess the saddle makes it possible to adjust the set-up rather than being 'fixed' like this guitar, but I never imagined the strings would sound so good without a saddle. stunned.

[@christianbacon7027]

This is super cool

[@jasonmoskowitz1213]

Great Playing!

[@poupee58]

i prefer this traditional Guitar to some of the new lattice,sandwich,salt beef sandwich tops etc.

[@CrummyNails]

Amazing!

[@rebruneluthier]

dobrodave123 We were surprised to find that Torres had added something to his hide glue to render it insoluble with moisture, that was a big problem. Dryness and neglect had opened many of the seams for us, and we changed the plan once it was clear certain parts were not going to release gracefully with moisture. We've worked on many other Torres previously and since, this one was a first for the glue issue. We had the glue analyzed, but it was not possible to identify the modifying agent he used.

[@rebruneluthier]

***** Actually we have documented a number of pre-Torres Spanish (mostly Andalucian) instruments which had bridges without saddles such as this Torres bridge. His famous "la Leona" has such a bridge. In the Aguado method of 1825 Aguado describes a new innovation for the bridge with a separate bone saddle, and in his later edition of 1843 he claims this was his invention. The earliest dated SPANISH guitar I have seen a separate saddle on it was a guitar labeled "M. Hielo" of Madrid, 1822. The absence of separate saddle was a holdover from the 6 course guitar which was favored in Spain and basically had a lute style bridge. These were made in Spain (mostly Andalucia) well into the mid-19th century long after guitar traditions around the rest of the planet had settled on 6 single strings as the norm. Outside of Spain bridges took many forms either based on lute style bridges such as this Torres, or from the late 18th century beginning in France, pin bridges, a device invented by the Parisian harp makers to attach their strings to the soundboard, and immediately adapted by guitarmakers as a method to attach strings to the bridges, which usually had separate saddles. See the Diderot encyclopedia engraving of the harp pins which are mentioned as a recent invention. In general, the Spanish bridges sans saddle were usually found in simpler more proletariat instruments, although we recently sold an 1839 Juan Perfumo of Cadiz with a nearly identical bridge. See Vintage Guitar June 2012. In general, Spanish makers, particularly those of Andalucia did not use pin type bridges. When these show up on Spanish instruments of this era they are more often than not later modifications done outside of Spain.

[@rebruneluthier]

***** In general players preferred the better clarity and focus of a bone (or ivory) saddle, which also had the benefit of being adjustable for action height. Most Spanish Andalucian instruments, either 6 course or 6 single string were intended as instruments of accompaniment for either folkloric or later, flamenco cante and baile in commercial establishments. As such, polyphony was not part of this tradition. The modern "classical" guitar is a term that did not begin to be used commonly until after WW II. Before that time, the common term was "Spanish" guitar outside of Spain, but a few literate Spanish players such as Julian Arcas were mixing "classical" music along with folkloric and flamenco in their programs, using a "Spanish" guitar to perform them, so gradually the requirement for a more polyphonic instrument was advancing alongside the original prototype intended for accompaniments.

[@vihuelamig]

***** I made a 'copy' of this very Guitar that also included the Lute style bridge. It affects it much less than one would think, although I dare say that there is some influence. KZbin perhaps isn't the best source to judge tonal qualities but if you search for 'Rob mackillop Torres' you can at least hear another Guitar with a the Lute style bridge and zero bracing! just as in this Torres. I have never tried it myself but I'm pretty sure that I've heard that Alum added to Hide glue renders it waterproof. Alum was also a well known mordant for use in dyes. I guess that Torres would have had access to Alum.

[@MarshallBrune]

vihuelamig Besides Alum, adding Formaldehyde to glue was an old veneer trick to get it to set fast and waterproof. I think they actually painted the formaldehyde onto the veneer surface and put the hide glue on the carcass to get them to grab almost instantly. This was how compound curved surfaces were hammer veneered I'm told. I haven't tried this myself, the formaldehyde is hazardous.

[@ThiagoCP]

@@vihuelamig Sorry for chiming in after 9 years, but do you know if this the Torres guitar played by Rob that you mentioned? kzbin.info/www/bejne/f5jSaWBvaNSLaNE

[@jwpretd]

In use by the 1820s at the latest. Search google for "martin head of the class" (without quotes) and the first link that comes up should lead to a picture of a Martin-predecessor with machine heads. The actual link title is The Head of the Class - Headstocks on Martin Guitars.

[@manoelcandido9706]

Uma guitarra Torres de 1863 já usando tarrachas? Que eu saiba, as tensões em tarrachas só começaram no início do século XX. Quem souber melhor, me esclareça. Please.

[@duendesoul]

amazing sound out that guitar, totally unexpected.

[@lucasborjaperez68]

Que buen sonido fuerte y calido

[@wbajzek]

Very nice playing, Richard. Don't let the peanut gallery get you down! I'd love to hear a higher quality recording of it.

[@kaptainbastard]

@rebruneluthier I have a old german guitar labeled inside Theodore wettingell.is that any good value.?

[@mimbster1972]

Aside from speaker issue, the guitar sounds very good. It's explosive.

[@jakisnot]

Are those Hannabach Goldin trebles?

[@foglemam]

Are tracings or dimensions available for this guitar? Mr. Google can't find them.

[@vihuelamig]

foglemam The nearest plan you will get to this Guitar is the one that Roy Courtnall sells. It will be a very similar size but it does have fan bracing. Just leave it out!

[@markfogleman8438]

vihuelamig Thank you!

[@jesusbaldovinos6495]

Whats the name of the piece he's playing

[@petterhouting7484]

Hes playing flamenco in the style of soleares. Not a specific piece but an improv of several falsetas and variations of compás. If youre interested in this kind of sound look up "soleares" or "soleá"

[@CristianEzequielGuarinos]

Hola, el tiro de cuerda es de 604 ?

[@MarshallBrune]

Cristian Guarinos El tiro es 24 7/8 pulgadas, o sea 632 mm. Torres no usaba medidas de "metric," trabajaba en pulgadas Inglesas.

[@CristianEzequielGuarinos]

Marshall Brune Muchas gracias. Saludos

[@fatbeats101]

that bridge needs ball end strings for correct intonation.

[@thesticks123]

I am shocked that anyone would think that this is a Torres. No fan struts, the headstock, the overall look and sound, it doesn't add up. I would like to have Romanillos' opinion. If this guitar is a Torres then my uncle was Robert Bouchet.

[@dobrodave123]

So tell us the truth Richard; did you have any whoopsies when you dis-assembled her ? I think my head would explode at the first touch of a blade to separate a seam. Nice work ! My buddy recently scored a 30's Martin from the trash, amazing what some people will throw away !

[@santyrush]

i had a Vicente Arias 1906...

[@TonyMorris]

Feel free to send a good microphone; I'll be happy to accept.

[@rebruneluthier]

Those who think the authentication of instruments such as this are based on the label are mistaken. I published an article on this instrument in the May 2008 issue of Vintage Guitar Magazine. Hint: read the acknowledgments. As for values, I base my opinions on over 40 years experience buying, selling restoring and authenticating instruments such as this. Those who think my values are too high are welcome to take their Torres' to any of the anonymous KZbin "experts."

[@carlosmacmartin4205]

LMAO 🤣 Good for you, Richard! Don't take any scheisse from anyone! 😆

[@poupee58]

Not an amazing guitar but amazing that one so small,light and old can sound so well.Nice playing Richard and nice tremolo too.

[@guitaristdotcom]

Interesting!

[@EarlLedden]

Too bad the sound tears the speaker. Very interesting video.

[@inthenameofgod1992]

OH MY GOD THE EARTHQUAKE IS HAPPENING WHEN YOU PLAY YOUR GUITAR!

[@rebruneluthier]

Unfortunately, it is my policy not to comment nor place values on instruments I haven't personally examined. I suggest you contact an expert to have the instrument evaluated in person, this can't be done through photos alone. Labels in instruments are often the least reliable piece of information in an instrument.

[@poupee58]

Richard,please accept my apologies for my nasty remark earlier.You actually play authentic flamenco very nicely,I was just feeling jealous of your fine collection of guitars.Sincerely sorry.

[@thesticks123]

you are very right to be suspicious of this guitar. it is not a Torres

[@poupee58]

Richard dear,it's just a guitar although I am sure you will disagree.

[@poupee58]

Torres understood that a guitar does not have to be fancy ,complicated nor astronomically expensive to sound good so cut the mystique.

[@fatbeats101]

@percey Look at La Leona if you actually want to know what your attacking be about. So maybe you shouldn't post anymore.

[@mrlaa1]

Ahhh why not use a good microphone......

[@poupee58]

$100,000 ? Don't be silly.

[@poupee58]

Were it not for the Torres label.Richard would possibly dismiss this guitar as a piece of shit.I stand to be corrected but my point is that names and labels often have a psychological effect .I may be wrong Richard ,just a theory.