Jose Ramirez 1a

Ramirez 1a Spruce top 1989 Jose Ramirez III.
Guitar for professional performers.

I travelled half way around the world from Sydney to Madrid and then on to Conception Jeronimo and the premises of one of the world's greatest luthiers.
I chose the best guitar on offer. Of course it sounds good.

Ramirez guitars are not instruments for those with weak technique, especially so the spruce models.

Here Ramirez guitars reign supreme. Take them from tropical Singapore to Helsinki and they'll not twist, warp nor complain. For professional performers.

After 7 years ownership I returned my instrument to Madrid in person in 1997 for it's third refret. This time Amalia recommended replacement of entire fingerboard. I started to ramble on about the carbon fibre strings I now use etc, she just smiled.. "You need not worry, it will be perfect".
It was better than perfect, installation of carbon fibre reinforcement etc was standard. The finish immaculate. I suspect it was reset up to her late brother's innovations in regard to action etc. Even though its a long scale Ramirez it now plays like a lke a Ferrari although it retains the tone of a Rolls Royce.

Amalia looks after those in the Ramirez "family", 10++++

Playing over 30 years.
I've used this guitar every day on a professional basis, performing and teaching, for 18 years.
Only other guitar I've ever coveted would have been a Bernabe.

1978 Jose Ramirez III 1A, from Madrid. Label has blue border, is signed, and numbered. Purchased new in Seal Beach California, 1980. Nineteen frets, solid cedar top. Fret board is ebony, w/ reinforcing strip down the backside of the neck. Headstock is characteristic Ramirez shape. Back/sides are rosewood w/ interior lining. Purfling separates two-piece back. Overall finish is glossy varnish, bridge has inlaid white purfling. Tuners are most likely Fustero, w/ pearl-like buttons. Neck scale is probably 664. Bought with no-name black case w/ red felt lining, which was probably standard for that period.

Classical style. Sound is characteristic big bass, round midrange, and strong trebles. Ponticello strong, tasto is liquid/smooth when played w/ string "slicing" stroke. With the right touch, this guitar makes all the characteristic 60's and 70's Segovia/Parkening sounds. The "wolf notes" are there, but this is a highly personal subject amongst guitarists. I'll let you decide.

Typical high Ramirez action. Mint condition is important to me, so the action was never adjusted. Ramirez guitars demand good technical control i.e., strong left hand fingers, good right hand technique, and absolute synchronization of both hands. The long fingerboard and high action tires the hands, so I use low-tension basses and medium-tension trebles. Sound projection is affected, but the guitar retains its responsiveness. Soundboard excellently bookmatched w/ tight grains.
Side of fret board has bubbles in the varnish, but these are cosmetic and do not affect the sound. One repairman I know theorizes that the drying of the varnish was rushed during production.

Solid guitar, but I don't use it for live gigs. It's a "garage queen" that sleeps in its case and is only played at home. Hardware and finish in excellent, mint condition.

Never had to contact the company. This guitar has never been damaged. Warranty must be moot by now.

Played classical for thirty years. Own various concert classicals, Martin steel string, and various Japanese classicals. If this Ramirez was lost, I'd replace it w/ a good used Ramirez 1A from Guitar Salon Int'l for about $5 - $6,000. If available, I'd prefer a Ramirez 1A "AM" model instead.
This guitar is a definite period piece. It's not for everyone, and certainly is not easy to play. Like thousands of classical guitarists in the 1970's I liked Chris Parkening and wanted to play the same guitar he used.

Mine is a 2001, with cedar top/Indian rosewood, ebony fingerboard. It is standard 650mm. The tuning machines, the brand of which I do not know [original], are smooth and do not slip, seem solidly constructed and, if important to you, are very nice looking and match the guitar in this way.

I play mostly Bach at this time, love the lyrical sounds of his music and this guitar seems perfect for this. The intonation is as perfect as my ears can tell. Overall tone is excellent, and I mean in all areas of plucking...from near the bridge to near the fretboard it is more balanced than any other guitar I've played. I owned a Ramirez 2E before this; it was also very nice, but the range of tones possible with the 1a is better.

I found no flaws upon purchase new. After three years, there is a small crack in the finish on each side of the fretboard where it meets the cedar top. Possibly this is [or likely is] from variations in humidity, as I live in an area with very low humidity and if I forget for a week to moisturize my in?case humidifiers, it can drop radically. The cracks seem to be only in the finish, so far. Otherwise, the guitar is beautifully made.

Right now, I only play this guitar at home or intimate venues, and I baby it. Therefore, I cannot really attest to its durability, though from handling it for three years, daily, it appears to be solid and well built in all respects.

Haven't had any call to deal with the company.

I've been playing thirty years, classical, electric, and acoustic guitar and banjo. I waited a very long time to buy this guitar, as it is so expensive for my budget and I typically put what money I could come up with into other music gear [classical music is a hobby as compared with other music I was playing for jobs....]

2001, purchased new for $6600 US, cedar/rosewood with ebony fingerboard. Exact model is 1a Tradicional

Sound is very rich, typical warm cedar. Crisper at the bridge end, as it should be, mellow and clear nearer the fretboard, no muddiness as I've experienced in some other guitars. I play mostly Bach pieces these days, and it is perfect for that style and range as far as my ears are concerned. It is now the guitar I play 95% of the time [I have a couple other makes of classicals I pull out now and then just for the contrast, no comparison].

Action from the factory was high. My luthier says this is typical for Ramirez, that they set it at the high end of normal range. I had trouble with barre chords even after couple decades of playing, had to work hard at it. He lowered the action, now it's perfect. The fit and finish are perfect...I paid big bucks and went over it on approval microscopically [though mostly concerned with the tone/sound] and found no complaints.

After 3 years, have noticed a tiny bit of separation in the finish at the junction between the fretboard/neck and top. People say this is normal with cedar; I cannot say, as I just don't know. Suspecting humidity trouble, I have become more vigilant in keeping the moisture in the case up and so far no further problem. I live in an area where the ambiant rel. hum. is far less than 20% most of the year.

Not applicable

I've played classical for 35 years. Also other styles with other guitars [Martin/Gibson/Guild]. I own a Martin OM 28, a Les Paul Custom, a Gibson Mastertone banjo, a Hikari student classical, Gibson 335 semi-hollowbody, a Guild D-50 dreadnaught, Mesa Boogie amp [mid-70s], MSA double-neck steel, Peavy Vegas steel amp.

If lost, I'd buy another Ramirez 1a in a heartbeat, considering I had the money, and I'd start saving for one if not.

I recorded my first Solo Album on a Ramirez 1A, 'Concepcion' model 1976-77, which i still own and I am still blown away by it's incredable sound.
I spoke with a grand-daughter of Jose Ramirez III. From the serial number she believed that Jose Ramirez III himself had crafted this fine and beautiful instrument. The same model and year (presented to him by the Ramirez family) that Andre Segovia used till the end of his enourmous career.

Heavenly sound. To say the deep bass, crystal clear highs, well rounded and balanced midrange and the huge 'prescence' of this amazing guitar are 10+, are not enough. The sound doesn't fill the room, it somehow surrounds you. Playing it, is more of an experience than a recital.

When you open the sealed guitar case, a beautiful smell of Cedar greets you. Combined with the French-rubbed Orange Shellac finish is always a pleasure. The materials are: Indian Rosewood back and sides, Cedar close-grained top,mahoghany neck with ebony fretboard. The inner chamber is lined ( a second lighter wood) perhaps lending to it's volume and sonority.

First rate craftsman ship in fit finish and construction, but like any delicate, fine Artwork it must be handled 'respectfully'. Like any friendship, you get back what you put in to it.

this is not a 'small' guitar. 665 mm scale length and wide neck means you must practice and stretch.

I've been playing 20+ years, electric and accoustic, recording, touring, studio.

The list of owned equipment would be too long and perhaps not relevant, except to say that i own and have owned other 'classical' guitars and have played some of the 'best', but the gear you keep is always because of the relationship you develop and the sound and playability of the instrument...the Ramirez 1a is the 'Best'.

In short I loved this instrument from the time I first touched it and still do. I highly reccomend it for the professional performer or serious student.

Guitar: Jose Ramirez Model 1a, built 1976 in Madrid workshop. Purchased new directly from Ramirez.

Ebony fingerboard, cyprus lined rosewood body, cedar top. Fan braced in the 60's/70's mode. Laquer finish.

This guitar has all the 'features' you would expect on a top-flight concert instrument. Tuning machines are the only exception. These are proletarian items for such a sumptuous instrument.

The instrument displays all the characteristic tone and frequency response one would expect from a Ramirez -- deep bass, piercing treble, but with that round warmth and passion that is so often noted. This is a big voiced instrument. In 1980, I played a Boccherini piece accompanied by a harpsichord. I had to switch to my Hauser copy to keep from walking all over the harpsichord.

There ia a warmth and depth that make this instrument ideal for the 1890's through 1930's romantic Spanish repertoire, but make no mistake, even highly contrapuntal Back passages sing with clarity and good part differentiation.

The sound, in a word, is lush.

This was/is the top end of the guitar world -- even judged against the small lutheir-craftsmen of our time. The instrument, even after almost thirty years of use, is still tight, still vibrant, still a pleasure to hear and examine. The instrument has been refretted, but no other repairs have been necessary. Characteristically, cedar Ramirez instruments develop cracks along the side of the fingerboard where it crosses the top. Mine has not done so, I believe due to proper humidity being maintained.

I looked this guitar over very carefully at the time of purchase and could find no flaws whatsoever. After twenty eight years, the laquer has settled into the grain, but have seen this on most instruments of its age--with original finishes

I rode the NYC subway with this guitar and played it exclusively for years and aside form a clumsy friend denting the top with her coat buttons (and this, my friends is indeed motive for murder)it shows no sign of the passage of time. I am careful with my instruments, bu thtis guitar is built well.

All correspondence with Ramirez prior to and after sale was conducted by mail -- this was 1976 after all -- and there were never aby problems. Very professional organization -- what else would you expect.

I have been playing classical guitar since 1973, and am a graduate of The Mannes Colleege of Music prior to its take over. I had performed on guitar and lute throughout the New York City area during the period of 1976 until 1993 when I semi-retired to bucolic upstate NY. Now I teach, and no, my students do not touch Jose!

If stolen, I'd have to come up with nine grand to replace it-- and I would. Of course, Jose III passed away in 1995, so I'd have a new 1a and would probably go with the spruce top option, as my daughter will want to give this guitar to her child.

It's the sound that grabs me the most even after all this time. It is still pleasingly round, fat, projecting and sumptuous. Every note sings, there are no dead spots or muddiness anywhere.

I have played all the greats including Hermann Hauser Sr. and Jr., Thomas Humphrey, Ignacio Fleta, Paulino Bernabe, you name it. Each of thse instruments is amazing, and there are some I would kill to own, I have never gone home to my Ramirez and felt any inferiority. Sure the Hauser is more 'even' in some ways, the Fleta is just plain unique. Tom Humphrey's stuff (and I haven't played the new, less traditional models) is just superb. Still, I don't feel the need to sell and buy something else.