2016 José Ramírez "Auditorio Trio C650" No. X6-010 CD/IN

This 2016 José Ramírez "Auditorio Trio C650" No. X6-010 is a classical guitar with a cedar top and Indian rosewood back and sides – the Auditorio with a double top and double back and sides.

A 2016 Ramírez from Calle de la Paz

The Ramírez workshop, where this guitar was made, has supplied countless professionals over more than half a century: Andrés Segovia and Sabicas, Christopher Parkening and Chet Atkins, Lee Ritenour and even Sting. Since 2000 the workshop has been in the hands of Amalia Ramírez, and this guitar was made well into her direction.

The "Auditorio Trio"

The "Auditorio Trio" is the latest development in the evolution of the Auditorio models. Like them, it is essentially the famous "1a" with a modern double-top ("Nomex sandwich") soundboard – but here the sides and back are double too, with honeycomb like the top. The sides and back are Indian rosewood outside and cypress inside, following the traditional Ramírez formula. As far as we know, it is the first guitar with double sides and back with honeycomb.

Inside the Sound

Many guitarists who have played it say the system makes the player feel inside the sound – not only projecting it, but surrounded by it. A truly explosive and fun guitar to play, and a perfect compromise between traditional and modern. A hardshell case was included. The label (Calle de la Paz 8) is signed by Amalia Ramírez, dated 2016 and numbered X6-010 – with the model code "Auditorio Trio C650" written beside it.

How the Auditorio Was Born

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

Two Videos

In the videos above Amalia Ramírez presents the Auditorio Trio guitar and talks about the Ramírez legacy.

There is much more about the workshop on our blog – The Ramírez Family: Masters of the Guitar, the family members from Amalia Ramírez back to José I, and some fact-checking on myths and facts about this legendary workshop.

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.