Masaru Kohno 1961 and 1962 - classical guitar comparison EL NOI DE LA MARE

[@kpcart]

First time i rewatched this video. perfect classical guitar sounds

[@classical9034]

Very nice sounding Kono ... I also have a 7 fan braced 60's Kono. Just can't stop playing it!

[@luisburgos6785]

También poseo una de 1962, maravillosa.

[@pvhung1529]

what is your favorite string set that you put on this kohno? thank you very much!

[@Realtors60004]

I should have photos of my 69 no 10 up on my site soon. I am pondering having it professionally refinished with French polish. It has a fairly marked up top, the sound is extremely strong and even. I prefer the sweetness over power and the early spruce top Kohnos seem to offer that. I have a 1967 No 4 and a 1967 no 5. The no 5 may be restored with French polish. I am debating on that. On another note both Torres and Bouchet toned their tops by thinning certain spots. You should read the Romanillos book on Torrez- Antonio de Torrez Guitar maker lifework. Like you I find the early period Kohnos the best. Those had more of his hand in them. In 75 his shop in Tokyo began to produce many guitars. Is that you playing in the video- I see some Emilio Pujol approach in your technique- hand position and the use of rest stroke.

[@kpcart]

+Bill Baker very worth doing French polish, it is thinner then the old lacquers Kohno used, so opens up the voice more. best to learn how to do yourself the refinish, saves you lots of money. I very much admire Romanillos, the one guitar I built last year was based on his philosophy of guitar building and also from a David Rubio guitar I really like which I studied, and it turned out to sound very similar to a Romanillos guitar. 1960s Kohnos seem to have tap tone thicknessed soundboard, (ie thinned uneven like you mention), while the ones after that from my measurements seem to go for consistent thicknessed soundboards ~2.5mm - that matched with the newer parallel bracing probably leads to quicker production, but also produce very even sounding guitars with that bracing - but they lack in character and tone colour range. my technique in this video is about 1 year after I reworked it completely from a predominantly free stroke technique like most modern players. since then it has got much better, your need good technique to bring out the sound of old Spanish braced guitars, you sound dreadful on them if you play like modern free stroke players.

[@Realtors60004]

Interesting you know Kohno did not build cedar soundboards until 69. Where did you hear that? My 61 and both my 67's are spruce, while my 69,71,73 are cedar.

[@kpcart]

+Bill Baker; through research and personal experience with so many 60s kohnos. what model numbers are your 69,71 and 73. in that era the spruce was darkened, and a lot of people mistake then for cedar. the low models ie number 7 and 8 were cedar or Hokkaido spruce in that era. while European spruce was for mid and high models - and brazillian rosewood was only ever for high models in 60s and mid-high models after 60s. Kohno said himself later in later life he did not like the results he got with Cedar. I am currently refinishing a European spruce, brazillian rosewood 1963 Kono, will be on ebay soon for about $2500us with better sound then these 2

[@kpcart]

+Bill Baker which model 67? I had a low model 3, but have seen no.10 and no.12

[@luisburgos6785]

Tengo un kono 1962, tapa de pino sólido, pero laterales y fondo veo que son laminados.

[@Realtors60004]

Thanks for the reply. My 69 is a #10 with Brazilian rosewood back and sides. Top appears to be cedar. I have a 71 no 7 which is cedar and Indian rosewood and is an outstanding guitar. I have a '73 no 8 and a '73 no 20 which was the top of the line in 73. I am in the process of studying the bracing patterns of my many Kohnos. You can hear the sound on some of them at www.vintagekohnoguitars.com . You best be careful on the refinishing, as that often changes the character of the sound. You should record a before and after take and compare it.

[@kpcart]

+Bill Baker would be interested to see photos of your 69. you will find all of those 4 mentioned have the newer parallel bracing and quite a consistent thickness soundboard, all which make a very even sounding guitar. I am careful on any refinishing, and often the guitar sound better after, or at least the same, as many had a thicker varnish in those days in Japan. ive had many guitars refinished and never have got worse. my ones I have had include 61 (2 of), 62, 63, 65 no.5, 65 no.10, 66 no.6 67 no.3, 68, no.5 70, no.7, 70 no.8, 72 no.20 I don't like the more new ones. best old Japanese I have is Masaji Nobe 1968 and one of the 61 Kohnos and have had a few good Toshihiko Nakade and Sakazo Nakade.

[@Realtors60004]

What numbers are these 2 guitars? Are they both cedar soundboards or is the 2nd spruce?

[@kpcart]

both are spruce, kohno didn't use cedar until 1969. these were before kohno used model numbers which started around 1964

[@densdoor]

First guitar sounds the best. Second one tinty like a toy and not great separation. First one sounds good. My opinion. And I do not know how anyone could think either is cedar. First one warmer sound!

[@kpcart]

let people have their opinion, I deleted your arsehole opinion, because obviously you have no idea about guitars at all, USE YOUR EARS, the audio quality is good enough to capture the natural sound of the guitar, if you cant hear the difference between these 2 guitar, then you are absolutely tone death. don't post hateful comments.