2013 José Ramírez "Auditorio da Cámara C664-CN" No. Y9-065 CD/IN

This 2013 José Ramírez "Auditorio da Cámara C664-CN" No. Y9-065 is a classical guitar with a cedar top and Indian rosewood back and sides, on the 664mm scale; the group Capital plays "Dr. Sabe Tudo" in the video above.

Made Under Amalia Ramírez

For more than fifty years, guitars from the José Ramírez workshop have been in the hands of countless professionals, from Segovia to Sting, from Sabicas to Chet Atkins and from Christopher Parkening to Lee Ritenour. Amalia Ramírez, the fifth generation of the family, has directed the workshop since 2000 and inspects every guitar during and after construction.

About the "Auditorio"

Think of the "Auditorio" as the Ramírez "1a" with a modern double top – a "Nomex sandwich" soundboard – that keeps the classic Ramírez tone and adds a great deal of power, projection and response across the registers. A slightly raised fingerboard with a 20th fret and a headstock of its own complete the design; it is an explosive, fun guitar to play, and a perfect meeting of traditional and modern.

The "Da Cámara" Shelf

This one is also a "da cámara" model, with a wooden shelf attached to the inside of the sides, running around the whole perimeter of the plantilla. José Ramírez III developed the idea to clean the guitar of any "wolf" tones, and he found that it also enhanced the power and clarity of the instrument. Players have long debated its effects, but everyone agrees that these are great instruments – and so is this very fine Auditorio, built on the long 664mm scale with a 52mm nut. Signed by Amalia Ramírez, the label gives the year 2013 and the number Y9-065 – with the model code "Auditorio C664-CN" written beside it.

Amalia Ramírez on the Auditorio

The Auditorio guitar was born, as a project, in 2006, when we made the first prototypes. I was making my experiments with the called double top using nomex, and I knew that the first luthier who ever started using this material was Gernot Wagner. For this reason I contacted him, and he was very kind helping me since the very beginning to let me know how to work with it. He even came to my workshop to make a top with us. After this, my guitar makers and me have been making some changes to adapt this system to our own criteria, techniques and design, until we got what we were looking for.

The double top helps get a better projection and sustain. However, it does not improve the quality. If the guitar has a good sound, then it will give it more power, but if the sound of the guitar is not good, then it will be more powerful but with a poor sound.

My intention was to keep the personality of Ramírez guitars, and we have really done it, so we have the sweetness, depth and richness, as well as the balanced sound that is characteristic of Ramírez, adding more power, wideness and sustain. The best things of our guitars are even more noticeable with this new technique. It takes much more work, because building a double top is very delicate and takes a long time, but it is well worth the effort.

– Amalia Ramírez

More reading on our blog: The Ramírez Family: Masters of the Guitar, The José Ramírez Dynasty (from Amalia back to José I) and some interesting fact-checking in José Ramírez: myths and facts.

The José Ramírez Workshop of Madrid

Founded in Madrid in 1882 by José Ramírez I, the Ramírez workshop has produced guitars for more than a century and through five generations of the family. José Ramírez III (1922–1995) took over as maestro in 1957 and developed the Ramírez concert guitar we know today – large in body, with a long string length and a cedar or spruce top, with great power, sustain, sweetness and balance across the entire register. He popularized western red cedar as a soundboard wood, and from the 1960s Andrés Segovia played José Ramírez guitars to the end of his days.

Ramírez Craftsmen and the Next Generations

From the 1960s to the 1990s the workshop trained many of the most talented guitarreros of the day, among them Paulino Bernabé and Manuel Contreras. In 1995 the shop moved from Calle Concepción Jerónima 2 to Calle de la Paz 8, and since the death of José Ramírez IV in June 2000 the business has been directed by his sister, Amalia Ramírez, who inspects every guitar during and after construction.

The Workshop Under Amalia Ramírez

Under Amalia Ramírez the workshop has kept the classic concert guitar at the heart of its range – the "1a" (first class) in the "Tradicional" design, its model code written by hand on the label: C650 for a cedar top with Indian rosewood, "-A" for a spruce (abeto) top, "-P" for CSA rosewood (palosanto) and "-AP" for both, with F656 and F656-A for the cedar and spruce flamencos. Around it she has built a wider family of models: the "Centenario" and "Elite", made with the workshop's most precious woods; the reissued "SP" and "2a"; the "Auditorio", "Antigua" and "Guitarra del Tiempo"; anniversary series such as the "125 Años" and "130 Años"; replicas of historic guitars, from the 1912 Manuel Ramírez played by Segovia to the 1913 "Guitarra de Tablao" of José Ramírez I; and the studio lines NE, R and FL. The concert guitars carry the Calle de la Paz 8 label, signed by Amalia Ramírez with her star signature and numbered with a letter-and-number code (Centenario and Elite have numbers of their own), while the studio guitars have an orange "Guitarras de Estudio" label, "Diseñada, Revisada y Certificada por Ramírez", with the red "Calidad Ramírez" stamp.