t
I,,.._
· THE i\1.-\.STER .\L.\KERS _.i,:,,;o THEIR GUIT.-\RS ·
8 José Ro,m anillos
(1932- )
Background
José Luis Romanillos is the foremost guitar maker
currently working in 'England. He lives and works in
the small \'illage of Semley, near Shaftesbury in
Dorset. He was born on 17 June 1932 in \ladrid, and
when thirteen years old, he was apprenriced to a
cabinet maker, gaíning sorne experience of working
,..,ich ti.mber an<l hand tools. In 1956 he carne to
England, whh a work permit to work as an assistant
nurse in a mental hospital. He married his English
wife, ..vlarian Harris Winspear in 1959, ,md they had
three sons, one of whom, Liam, has assisted in his
father's workshop since 1982, gradually learning che
Romanillos technique of guitar making. In late 1991,
Uam became a full parmer \'vith his father, and a new
Romanillos \abe! was made to mark chis occ:.1sion.
Romanillos carne to guitar making in a roundabout
way. Entirely seJf-taught, his origjnal motivation was
to make a guitar for his O\m use, and ro remind him
of home - he had become rather homesick for Spain.
He could not afford to buy a guitar, and happened to
come across an elernentary book on guitar making,
which served as a guide for his fi.rst insrrument.
He did rerurn to Spain in 1964. where he made
122
-
8-1 Jos/ Ro111a11illos
i11 h is n•orJ:s:wp -
severa! more guitars. Four years later he tra\·elled _
back to England, where he settled permanently.
During the 1960s he worked as a carpenter, but _
carried on making guitars whenever he had t:he time.
In 1969 he was introduced to Julian Bream, and he -
showed the guitarist one of his instruments. In time,
Bream saw more of Romanillos' work, and finall~
they carne to a mutual agreement rhat pro,ided che _
guitar maker '"ii:h workshop space on Bream's land,
which happened to be clase to where the Romanillo~ -
family lived. So, early in 1970, Romanil!os moved in
to his nevv workshop, and began mak.ing his fusr ..._
batch offour guitars. One of chese four, No. 101, was
acquired by Bream for his own use, and featured in '
many concerts and recordings. ,__
Bream alreadv O'-"-ned a 1936 Hauser, and a crack
had appeared o'n its back. lt fell to Romanillos ro -
carry out the repair and, as chis encailed remov-ing the _
back completely, he was able to examine che Hauser
interior in great detail. This was an important stage in
Romanillos' development as a great maker, because
he had not really had much access to fine instruments -
befare this. Hauser was to become one ofthe grearest
 · JOSÉ ROMANILLOS ·

influences in Romanillos' career. ln 1973 he made but he prefers to spread out the fan struts more than
what was to become Bream's famous guitar. lt was on most of Torres' guirars. The seven fan srruts are
dosely based on his examination of Sergio Abreu's much closer to being parallel to one ariother than
1930 Hauser. Over the years it had numerous would be the case with Torres. Two thin closíng
repairs, including a new back which was put on in struts are placed diagonally, very close to the
1978. More recently, the back has once again been end-block area. Additional bracing is sometimes
replaced. This was done by Hermann Hauser lll, included either side of the soundhole - two thin bars
who is the grandson ofHerrnann Hauser l. on each side. This he observed in a Hauser guitar.
Romanillos makes an average of fifteen guitars Another distinguishing feature ís the use of open
ever,1 vear. He also dev·otes sorne of his time to hannonlc bars - all three harmonic bars have
cart1i¡{g out research into his favourite area of aperrures formed so that the soundboard is not so
interest - the history of the Spanish guitar. In 1987 rigidly held, and can move more frecly. (Two
he published a summary of his research into the different soundboard plans are provided, in order to
guitar maker, :\ntonio de Torres (¡J..ntonio de Torres - give as comprehensive a \.iew as possible of this
Guitar Maker- His Life and Work). maker's work.)
In 1991 he made a guirar based closelv on one of
Torres' finest instrume'"nts. (FEOS, made in 1858.) In
the original, the back and ribs are of bird's-eye
Plantilla
maple. The soundboard, back and ribs are aJI Drawing from his research into Torres and Hauser,
embellished ,.,ith an elaborare double herringbone Romanillos has made instruments following both
pattern of dark and light woods. The dramatic rosette these patterns. His own design has evolved
design indudes a cenrral motif consisting of somewhat, and is recognizable by the shape of the
mother~of-pearl shapes, which alternare with squares upper bout/waíst area, the upper bout being rather
of a chequerboard pattern. With chis instrument flat as it leaves the waist. The soundhole diameter is
Torres demonstrated his tremendous skill in making 87 mm (somewhat larger than many other makers).
and setting in rhe herringbone and other inlays. The
neck is cedar and the fingerboard ís ebony. Ni.achine
heads, nut and frets are all made from silver. The
guitar was exhibited in 1858 at the Se,ille Exhibirion.
Romanillos made sorne slight changes to his 'copy'
of the guitar - rhe shape of rhe body is slightly larger,
and the back and ribs are of cypress. The interior
strutting is .,irn1ally idenrical to the original - se\·en
radial fan strms, and a lower harmonic bar \\ith
openings eirher side. ·
Romanillos has a ven· clear ,ision of the kind of
guitar he strives to make, and of the characrer of
sound that he .,,ishes to produce - he is interested in
capruríng the 'rrue Spanish sound';. hence his
thorough research into Torres, who work.ed very
differemly to orher nineteenth-cenrury European
makers. Guitars by José Romanillos are now in such
demand chat the waitlng time is ...-irrualiy indefinite -
perhaps ten to fifteen years.

(The following notes are elaborated on in the

transcription of a conversarion with Romanillos mar
appears further on in the book.)

-
--
••
■l■I

Soundboard and Strutting System

Romanillos uses only the finest spruce for his
soundboards, as he believes that this is the lirst
essential element for a good guitar. The second
important factor is to thickness a given soundboard to
the correct dimensions so that it will respond to the
\ibrations set up by the strings as fully as possible.
His stnmíng system is essentially based on Torres, 8-2 A Romanillos g,út«r made in l 99l

123
 · THE i\1.-\STER i\ UKERS .-\.-..:D THEIR GUITARS ·
--
Neck
-
8-3 A Romanillos ncck ready to
receire the ribs - the tapr:red slot
---
-

has be~n prtpartd sn thnt a wedgt ..__

,·an be drh·e,1 dom11 br/11,u/ the rih

- 1

Romanillos always uses a 'V' join to connect the neck From outer circmnference:
to me head. The shape of the heel is based on that
found on many of Torres' guitars - small and round, Outer border:
rather than the more angular shape often used. The 1.5 rosewood
ribs are secured into the neck wim a variation on the 0.2 svcamore
usual Spanísh method - slots are cut for the ribs, but 2.5 lozenge pa~em in \'arious woods
they are much \\Íder than usual, and are tapered so as 0.2 sycamore
to be \\Íder_ at the heel than the fingerboard side. The 1.5 rosewood
rib is men placed into me slot. .-\ wedge that has been 0.2 sycamore
prepared to exactly th~ same taper, is tapped down
into the slot, behind the rib. This forces the rib Central section:
againsr the ourer edge of the slot. :\ perfect join is 5.5 arch morif
forrned , and any of the usual problems associated
with adjusting me rib ,vidm by trial and error, until it
fi.ts a narrow slot, are avoided.
7.0 colurnn mmif

Inner border:
0.2 svcamore
--
Rosette 1.5 rosewood
The Romanillos roserte is definitelv a feature that 0.2 SYcamore
makes his guitars instantly recognizab1e. He is a 2.5 Iozenge pattem in various woods
master of me techniques im:olved in making wood 0.2 s,·camore
inlays, and he uses a varíe~· of methods to produce 1.5 r~sewood
his famous 'arch' design. He took the original idea
from the architecture of the mosque at Cordoba in
soumem Spain. Only narural woods are used,
including cedar, sarinwood, sycamore and yew. The
main design consists of two blocks which are
1Waterials
soundboard:
back and ribs:
European spruce
Indian rosewood
,-.
pre_pared separately; the first represents the colurnn, neck: Honduras ce dar
and the second represents the arch which is placed fingerboard : ebony
above the column. The arch is made by cutting bridge: Brazílian rosewood
wedge-shaped secrions from a veneer sand,"ich, and
then gluing them together, like slices of a cake. The
wood for the colmnn is rebated to shape, and joined
to a mirror-image shaped background. The inner and
internal srruts:

Soundboard Thickness
European spruce
-
outer borders consist of a lozenge design, which is 2.5 mm-2.75 mm in the bridge area and up to the , .._
made from varying types of wood. soundhole
The rosene is 24 mm v,ide. 1. 9 mm-2.2 mm around the periphery

12+
 ·JOSÉ R01\I\ANILLOS ·

8--1 Tlu Rommlillos mutte

Comparison ofDimensions of Two Romanillos Guitars

(mensuremenls in millimetre~)
\\;dth width
body al upper "idth at lower bo<ly depth body depth
year length bout at waist bout at end-block 31 heel
1973 +80 268 225 354 97 84
197+ 480 267 224 J53 98 87

(The 1973 guitar 15 Julian Bream's famous instrument.)

Back Thickness doing it then, so I suppose I was one of the

2.0 mm-2.3 mm; thickesr in the centre
Bridge
The bridge is inlaid wirh a section of the rosette
motif, and is bordered \\ith two srrips of iYoty.
pioneers in this counrry. I starced with a 1.-ery basic
book, it was all I could find. Once I started, [
became fascinated, not only with the construcrion1
but also wi.th the history of rhe Spanish guitar. I
wanted to know as much as I could about
evel'}thing to do with it. No one could teach it; I
had to do it on my own.

Scale Lengtlz (I asked José to elaborare on how the Spanísh school

650mm of guitar making differed from the European school.)

The followirnz: secrion includes e\.1Tacts from
... conversarions --..\ith Romanillos, recorded at his
workshop in Dorset, England, on 29 September
1991.)
I started making guitars because I ,,·anted to play,
but at that time I did not have enou!!h monev to
buy one. Bur l've always been ve1:· inquisiri;e, I
started in 1961, and rhere weren't many people
In principie, the Spanish guitar is much more
lighdy built. Also. the stratting is different - rhe
European makers used severa! transverse bars
across the soundboard, rather than fan struts. The
pitch of resonance of the soundboard will be much
higher if it has been 'tightened' with transverse
bars. Fan struts aJiow a lower pitch. This is why, in
my ,iew, the Spanish prototype {of Torres)
became preferred to the European. The Spanish

125

· THE ,\ 1:\STER :'\ IAKERS :\:--.:D THEIR GulT:\.RS ·
method is to get the soundboard, and then the air
in rhe cavity, to vibrare at its optimum. _\ lot of
central European guitars of the nineteenth century
are 'tight'; they may have nice trebles, bur the
basses are rcstricted. They have no ,ibrancy.
Hauser had to forger the German tradirion, and
revert to the Spanísh prototype, in arder to
produce the kind of sound that Sego,ia was
looking for. In the eighteenth century there were
one or two lute makers who puta very prínútive fan
strutting at the borrom, bur nothing carne of it. lt
was the guitar makers who took it further.
Sorne makers work totalh- differentlv to me -
Fleta uses cedar, and quite á heavy construction -
the soundboards are hea,·ih- braced. To me, his
guirars are more French than Spanish, in the
sound, the construction, and the whole approach.
· He's a verv good maker, but it is not the kind of
sound that ¡macts me. I'm attracted to what I
consider the Spanish guitar, which is ve1:· vibrant
and vef}· free and \'ery bright. Befare l started my
career in 1967 I wem to see a collector who had
three or four Fletas, but to me theY ,,·ere not
Spanish in character. l want to capture -.he essence
of the Spanish character. I'm not sure if I can, but
that's what I'm !T}ing to do. I'm working on
differem principies. Friederich is somewhere
between Bouchet and Fleta, an amalgamarion of
the two, but he has a scientific approach ro design.
Hís spruce guitars are, in my ,iew, the bi:tter ones.
TheY are well made, but he works bY rrial and
erro~ like the rest of us. · scientists could tell us ac what panicular dimension
The essence of guitar making today, if we
consider the Spanish classical guitar, is still bascd
on this Spanish instrument de,·eloped by Torres.
There are people changing things, like Smallman,
but rhat's a different type of instrument alcog:ether.
{Like mosr makers, Romanillos regards a good
soundboard as being central to a guitar's success.)
Cf the soundboard is 'soggy' and has 'no guts', then
the guitar ,1áll not be good. I',·e seen sorne pieces
of spruce that bend like rubber, and that is no good
at ali. Perhaps the fibres of the wood are not
compact enough, I don't really know . .-\nd yet,
sorne makers will paya lot of attention to one small
detail, for exarnple, the srrurcing. But the srrutting
isn't relevant as a detail, yet it is relevant as pare of
the overall uni!. The are of guitar making is to get
the tolerances righr - working to the limic, but it's
uo good getting to a limit with one part only, you
muse look at the guitar as an overall entitY. 1 don't
think we give enough serious thought to thc guitar
as a whole, and particularly, to the contribution of
the soundboard to this whole. Of course, it is not
always easy to get hold of good spruce. Thc
majoriry of the spruce these days comes from
Yugoslavia, although thc suppliers still call it
126
--
' German' . .-\ lot of the wood is cured artifi.cialk -
-
they are dealing with vast quantities, and would not
risk unpredictable climatic condiüons - spruce is
tricky to dry properly . .-\lso, the demand for wood
means that a lot of it is quite new, perhaps only two
or three years old, and sorne of it is not properly
cut; I had ali these problems when I srarted. I have
a soundboard that I bought commercially rwenty
years ago, and I never used it - if you look at it now
you can see that each half has bowed across to such
an e:\..1:ent that you can imagine the stresses rhat
would occur if it was now part of a guitar.
I am in contact with sorne researchers at Cardiff
University, who are working on acoustics, and I am
tl)ing to steer them to givc us sorne tangible
information. They can't salve our problems, but at
least they can tell us the parameters in which to
work. The rrouble is that they theorizc cverything,
and come up with tables and figures, but ic makes
no sense to us, the makcrs, so I haYe asked them to
t1:· and present the information in a form that
would haYe meaning, in an applied sense. \\'e are
really working in che dark. \\'e rely ou our
imuition, and on our experience of what ,,·e did
befare. Yer the principie of the guitar is wry simple
- che structure has to respond tO the ,,·hole set of
resonances in the guitar. This is not possible to
achie\"e, but it can be aimed at. That's che principie
- the soundboard has to in fact be 'dead' - it musr
not' show anr favouritism for one particular note.
The instrum~nt has tO be light and srrong, aud the
the soundboard would giYe us a cenain frequency
of response. This would be relared to the air ca,ity,
an<l to the back. This would be interesting,
-
because ac che momem we ali work bY che results
"·e had in the past. ·
(I asked if he had any parñcular thicknesses in mind
·'-"hen he worked on his soundboards.)
In general, I thickness the soundboárd co about
2.75 mm maximum, around the bridge and up to
the soundhole, and less around the edges, to about
2.0 mm, or sometimes 1.9 mm. But once again, it
ali depends on the particular piece of spruce J am
using.
When you make the guitar, you have to consider
the playing rechnique - what happens these days is
that the technique has developed in favour of a
heavy and sometimes unruly style, which may work
on sorne inscruments, but if such a player picks up
·a Torres, or one of my guitars, they don't know
what to do with it. lf a guitarist is only interesred in
playing fast, and with bravado, he can't make it
work. Wben you have a ver}' responsive instru-
ment, you have to upply certain rules in pla~ing it,
which many modern players are not prepared to
do. J know tbis is controversia!, but I know of
r
 ·JOSÉ ROM.\NILLOS ·
players who may take one year to come to terms
with one of my guitars, particularly if they ha.ve
been used to a heavier instrument. The guitar is a
limited object, and the player has to fit in to the
capacity of the instrument. There is a limit to what
that string can produce. I made several guitars for
Julían Breara, and th.e 1973 is the one he has
played for twenty years, because it responds to his
sryle.
CTosé had recently been commissioned to make a
guitar based closely on one of Torres' most beautiful
and elaborately inlayed instruments (FEOS, which is
described above). The construction of tbe 'copi was
complete, and the guitar was now being polished. It
8-5 The back inlays on the Roma11íllos copy o/Torres' 1858 guitar (FE 08)
nad already been srrung: up, and had a bcautifül
sound.)
It's ven- similar to the Torres - che inside is all
Torres; the inlavs are similar - it's taken me three
anda half montlÍs to get to rhis stage - I don't think
I'll make another one li.ke this! It's for a Norwegian
guitarist, who alr~ady has one of my guitars and he
asked me if I could make one in cypress, and for it
to be an approximation of the Torres guitar. I
didn't think too deeply - I said yes - but [ didn't
know what I was taking on. Now it's nearly
finished, I'm glad. 1 enjoyed making it. You think
you have worked everything out, but when you put
it inro pracci.ce, you discover that it's a different
127
kettle of fish. lf you look carefully, the inlays are
not end-grain, they are all across the grain. To do
this design ~ith end-grain is no problem, but it is
much harder to do it across the grain. Here is one
píece that is end-grain - it is much darker than the
next piece, which is across the grain. The mother
of pearl inlays are bedded into a black background
rnade from Araldite mi.xed with charcoal. The
sides were each made from two strips of cypress,
with the inlays put across the join. The back of the
join was re-inforced ~ith paper. I thought for
hours how to do it. The best thing about this guitar
is the darity of the sound - it is totally Spanish. It
has the best soundboard I could find, and Pve got
thousands to choose from.
........-....
·;.
....~-
-... ,.; •.
..
:
. : ..., -..:· :~
-:. .-
.~ 1?,r \::_f~
. ~~
(We discussed other aspects of his construction
method.)
Templates fer the plantillas
José showed me the various templates that he uses for
his guitars; one taken from a Torres, one from
Bream's Hauser, one from a Santos Hernández, and
one which is used for m-ost of his current guitars.
- Each one is beautifnlly made in thick br.ass, and small
boles have been cut out to define the ends of each fan
strut.
The rosette
I make a sand\',ich of the colours for the arch, and
it is cut into wedges, which are the_n put together. I
make it about 100 mm long, enough for quite a few

· THE f\l:\STER iv1AKERS A!'-JD THEIR GUIT.~RS ·
8-6 The msetrr!Oll rhe Romanillos copy o/Torres· !858 guitar(FE 08)
ros enes. This is labumurn, it has a very· clase grain
(the column). I've done the column in manY
differentwavs, now I use~ circular saw to rebate ir,
then fit the other pieces into it_ The basic method
is to build the roserte around a metal rube, the
diameter of whieh is slighth· more rhan the
soundhole. The \·arious section's of sandwich, and
also llar veneers, are laid round the tube, and then
an aluminium srrip is clamped around it ali. This
keeps e,·erything in place umil the glue is dry.
Finall~\ slices are cut off, just the required
thickness for one rosette ata time.
Tire strutting
This pattern is the one for Bream's 1973 guitar. h:
is a very successful design. There are rwo srrurs
either side of the soundhole, which pass through
arches in the harmonic bars, an idea I took from
Hauser and which probably he took from Torres.
The head is different to my usual design - I only
ever made one lile this. The strutting arrangement
is nor the rnosr important aspect of the guitar.
More important is the thíckness and the quality of
the timber. I shape the fan struts like gables up to
the bridge, then they are flat. I have tried so many
variations that I know that the exacr arrangemem is
not so critical. I have used a pbte under the bridge
for a long time, but I have decided to do awav with
it now. The next guitar \vill not have ir. i have
never been quite convinced of its use. I decided ro
do some experiments - not acousticallv, but
strucrurally. The thing is that the plate is in ¿onílict
128
f
-
-
-
\,ith the rest of the soundboard. The grain is going
the other way, so if the soundboard mo\-es - by
shrinking or swelling, ir causes a lot of strain. So I --
- have reccntlv decided that from now on I will not
use it. lt d~finitely puts a 1ot of stress on the
soundboard when there are climatic changes. On --.
that precept, I am doing a,1,,·ay with it. Torres never
used it. In my guitars I have used it sometimes, and 1
manY rimes not. and I <lon't think it realh· madc
anv difference t~ the sound_ At one time I thought -
th~t if l made it ven- thín, it would help to _
discipline the bridge a iittle. But our experiments
show that if you ha\'e an exrreme change in -
conditions, the plate causes the soundboard to
buckJe. But I won't rnake the soundboard any
thicker.
Rib to 11eckjoi11t
l saw this joint in a seventeenth- or eighteenth-
cenrury French guitar, not in a modern one. You
cut a wide, tapering slot, then fit the rib tight up _
against the front end. Then you drive a v,;edge
down, which rnatches the taper exactly. It is very
strong.
Back hars
J take them down in the centre, to make the guitar
lighter.
(The top sur faces of the back bars are not left flat, but
scooped out so that they are lower in the centre,
)eaving the full height only at the rnro ends, where
 · JOSÉ R0.\1:\MLLOS ·

8- 7 The Rmnanillos lahel that

w,u in use1111úl l,m 1991

constantlv. We get new ideas, and trv them out. but

rhey are ~sually~variations on the same theme.

Linings
1 ofien use indhidual blocks to atrach the sides to
the soundboard, but I have also used cominuous
linings. I build the guitar on a solera. The
soundboard is face down, and rhc ribs are let on to
it. In sorne cases, Torres, and othcr makers, hase
glued the complete lining in place afrcr thc- ribs Jre
posicioncd. They must have gltled the rib ro rhe
soundboard, and then fitted the líníng in place. I
haYe neYer done it that way, but l ha.ve glued the
lining ro the rib, and then the rib to the
soundboard. But now I use the individual blocks,
pl:i.ced in one ar a time, and pushed in with a
prodder.

Glnó
I use different glues for differen·r pans of the guitar
8-8 Tllc' 11,·rv Rrm1,11¡i!l1Js /nh,,f tlwt rvas inrmdw:t>d in lc1te - Cascamire for an:aching the tingerboard and the
1991 bridge: I use a rype of 'Titebond' (Humbrol) to
g}ue the bindings and the back. But all thc srrutting-
rhey butt against rhe ribs.) ;nd bars inside-are done wirh animal glue. I mak~
many gadgets to help the construction - this one is
.Yew labtl to glue on the bindings. I don't know if it \\ill work.
Gosé showed me the ncw la bel that will be used in the
guitars from now on. His son is now a partner in the T/Jefuture
bu.siness.) \Ye've ~or nearh- four hundred orders on rhe
books, s~o my s011 and grandson will h:n·e to fultil
This is the label we are going to use now, to them! l've tried to instil the idea in to- my son that
include my son. The dra,,ing represents che house he must keep the workshop on a mo<lest scale, and
\,ith the workshop and the hilJs, seen from below. ti}· to enjoy himself .\Iy son started ro help me
It's a wood-cut, done by a friend. when he was si.'\.i:een, about ten ~·cars ago. Sorne
established makers in Madrid · havc !;ad their
H,·ad i11/a¡ s
1
workshops de,·eioped into factories, once theír
\\·e mak~ them all slightly different, every two or sons took oyer. But guitar making is not a
rhree we change slightly. The decorations develop profession in whích to make a lor of money. Now
129
 ·THE \1.--1.STER '.\UKERS :\:--1D THEIR GUITARS ·
rnv son realizcs this - he shares mv \iew, and he
h;s become very skilled. !\ly grandion has already
been sitting in the workshop, wa,ching. We do it
because we enjoy it. 1 don't want to over-price my
guitars, because I wam players to be able to have
them, and not for them all to go to collectors
abroad.
/11 crmdusion
I gi...-e each guitar a Spanish name, and I record ali
the details of e,·ery guitar in this big book. It is a
blank log book far a ship from 1774. 1t is
beautifully bound in leather, and it was empty
when I found it, so I decided to use ir for keeping
8-9 Guitan hartgingup in tlie ruorhhopdun'r,gfrnuhpolúhirtg. Stcrmdfrom the
left ís the Torres copy
130
records of ali my guitars.
!v1aking a guhar is a great experience. At the end
of it you have something to be proud of. 1 have
many srudents in different countries and have
-
given occasional guitar making courses in Canada,
Belgium, Spain, Switzerland and Germany. The
students seem to get very clase - they keep in
touch with each other. Guitar making is a great
thing to do. I find it very rewarding.
I am now complering my research for another
book, which is about the development of the
,,-m
Spanish guitar from the sixteenth century. It
cover che organization of che craft guilds;
construction techniques; makers, and so on, but r
still have quite a lot more to do.
-
--
-
--
-
-
-
-
f -~ -~- -· . .-.
. .
. ,

· JOSÉ ROMANILLOS ·
ABCOE FGH I JKLMNOPQRS l....
1 ~
:..-- í7 oV,
n,,
2 K "§
3 /"' 3

-
1 p

4
5 /,
/ 1
1
ª'
oVI
6 V
7 1
f
8
9 1 l 1 1
1 1
10 1
¡
1
11 i' ! 1 1 1

12 1 ! 1 1 1
1
8-10 Romanillos - plantilla (tad1
13
14 1
1 1 1 \

\! !
1
1
1
1

1
1
1
'
'
square repreunts arre sq1111re ce11timetre)
1
15 1 1 1 1 1 1 1 1
16 1
\ 1 1 1 1 1
'
1

17 i '
1 1\ 1 1 1 1 1 1
1
1

18 ¡ 1 '
\ 1 1 1
1
1
1

19 1 1 1 1
1
1
!

20 1 1 1 1 1 1 1
l ¡ 1
1
21
1
¡ 1 i 1 / 1 1 1
1
1
1 1 1
22 1
1 1 1 1 1/ 1 1 1 1 !
23 1 1 1 l ¡ .
1 .
24 1
1 1 ¡/ ¡ 1
l i
1
1 1 i
1

25 1 1 1 ;1 1 i : 1
1 1 1 1
¡
26 1 1 JI 1 ! 1 1
1
1
1
1
27 l/ 1 1 1
1 1 1 1 1
1

-
1

1
28 Á 1 ! 1 1 1 1 ! l
29 1 /1 ¡ 1 l 1 1
1
1
1
1
1

30 ¡ 1 1 1
1 1
1
1
1 1 1 1 1
1 1
'
u¡
1
'
1= 31 1 ! 1 1
1
1
1 ¡ .
1
1
1
32 i 1 1 1 1 1 1 1 i 1 i 1
'
33 1 • ' 1 1 1 1
1 1
1
1
! 1 1

34 1 ! 1 '
1 1 1 1 1 1 1
!
35 11 l 1
1
1
¡
1
1 1

36 1 1 1 j 1
1 1
37 1 1 i 1 1
38 1 : 1
1 1 1
39 i 1
1 1 1
40 1 ! ' ! 1
41 \ 1 1 1 !'

42 \ 1 1
.' [ 1
1
43 !

' 1 1 1 1 ¡

.44 ~ 1
!
1 ! l 1

" "-
1
4S 1 1 1 1

46 .... 1 i '
'
47 r---.'. ¡'--.
l
.. 48 - ,.__
49 1
i 1
131
 .,_

José I Romanillos 1
,I ,.,

'il~t1 T

1
''

-
1
I
1

!
/ l
1/.
-
7 . i
\
LENGTH 486 \n
LOWER BOUT 362 iíl-!-_ __j_j__ ~¿_-~--===;;;;; --'----=, ---,,.......,..,_-----,-----'--i e:..,

UPPER BOUT 278 ~ ,7c- "is' 1

WAIST 236
~
:t l/1.
í
;I
¡1
. \·\
-
i fon struts
I
!j BAIOGE
lop~ do.·n \ \
trom r,qn \

(t- -r-L~~--1--
/1/ POSl:ION point ¡ust ,n 1
/¡ I / 1 I, frnnt al D\"l()Ji · \ -

\
#'---- tt- --==- - ~ic-
---
_\-
_l

·r
!ffi,1,lf/l{Wf/i!f!Olill[il/fll//tl!ll /f// i1,. :\
8-11 Romanillos -smmdbr,ard l

132
....
...
José Romanillos 2
1

L í:
,.
/ _' - ~ - , - - -T - - - · •• · :7 . ; - --!;••- ~·,
,,---.- .:.___:___-:;?""_ _ t-r---~~,--";.. - ·-rr-
. --,,.,
k--'------r,-- 01 ! :i
1f~--,~---=,
1

11

• 1
l . _1. , ¡,'
1/ ·1 r.
11 tronsverse
;0 .-. j ba•s an:ned :
· • ta ,:ear 1
1
str..::s.
:1
1

¡@!l(l/11 . 1/(]f/(í/ t, .'

BASS

8-12 Romanillos - so1111dboard 2

133
 r
· THE H-\STER i\'l,\~ERS AND THEIR GUIT.-\RS ·

-- .
L
1

-
L 1
¡

}
1
r
.t "'
.::
1' fI -
-
1
.t ' í
l. ."f -~=-

.l
-
-...
i
.l
11 ~
<:::
..::,
-
-
l

.l
~~
¡;
--:::
~

1
::::
<::
;;:
"'
-
"
!
.e
°'
~
="'"='"---4
~

§
~
::::
:::

"'
~
-
-

--'
~

O:,
-

134
....
1
-,
· JOSÉ RO.\l.-\\i[LLOS ·

-,
Jasé Romanillas

...

....
WEDGES FOR ARCH BLOCK

... key
D satinlo'aod

WJ
Wj redar

m loburnum

□ rosewocd

ARCH BLOCK COLUMN BLOCK

SECTfON OF COMPLETE ROSETTE

8-J..I R1m1mrillos - rri,dfl:

135
 · THE i\HSTER i\L.i.J.;.ERS A'.\!D THEIR GUIT:l.RS ·

;..
José Romanillos

76
1- .... ¡
r

1,/\
~
.- -
r
7·5
-
+
.
-
.T""

-
"' 16

-
N
8·5

,..

-
+

65
-
NU'T

8-1 S Romtmillo.s - head

.,,
136
...
-
· JOSÉ R0.\1.-\'.'l!LLOS ·

...
José Romanillos

1- 20 -1
/

/ -- ._
1

36 --
'" --- -
\.

TOP VIEW

---i·,o r--
r---------___,

S7 23
40

BOTTOM VIEW

8-16 R,mu111illns - 11erkj11i11t

137
 '¡=
1

-
· THE .\1.-\STER l\'1.-\KERS :\:\"O THEIR GUIT:\RS ,
-
--! ce ~
-
-,-+~ 1--
r
1

1
/ --
-
VI
65
UJ
z 1
UJ

~
>
r-
8<(
VI
~~
~~ 1
-
-
o
-
"1
o
·e
o
E
o
]
o

o
~
·:::
~

~
1
...:::
~
-
-
!;:
a::
~ e- ~
0-,
,a., t.rl ao
"1
....,o ~
- º·

- o

~
"-.'
~

-
o
-
- -,-
-
-
-
\ -
=
-..
-

--
;;....

138 r-