1976 José Ramírez "1a" No. 9692 CD/IN

This 1976 José Ramírez "1a" No. 9692 is a classical guitar with a cedar top and Indian rosewood back and sides, with a big, robust sound that Ramírez fans will love.

The José Ramírez Workshop in 1976

Countless professionals have performed on instruments from the famous José Ramírez III workshop over the past half century and more – think of Sting and Segovia, Sabicas and Chet Atkins, or Lee Ritenour and Christopher Parkening. The 1970s carried on what many call the golden era of the workshop – an exciting time, with the Ramírez name at the height of its fame and the elite players of the world beating a path to its door.

Tone and Playability

Despite the way many guitars from this period were set up, this one is very easy to play, with a lovely neck and an easy action. Thick yet clear, the tone has the warm, mysterious and moody character that made the Ramírez name famous.

Condition

No. 9692 is written on the label, which is dated 1976 and signed by José Ramírez III. It is in great condition for its age, despite having some well-repaired cracks in the body (including one in the top), and it is in concert-ready condition now, with a big, robust sound that Ramírez fans will love.

Curious about the family? Our blog has The Ramírez Family: Masters of the Guitar, the whole line from Amalia Ramírez back to José I, and a little fact-checking on the 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.

Ramírez Models, Labels and Builders' Stamps

For decades the workshop sold its guitars by class rather than by model name. The "1a" (first class) was the standard concert guitar; the "2a" (second class) was built the same way, and the shop explained its lower price tag by materials that might have minor aesthetic blemishes, or by its having been built by an apprentice rather than a foreman. Flamenco guitars add an "F" – "1aF" and "2aF". Until 1967 the labels carried only the year; from 1967 they were signed by José Ramírez III and gave the guitar's number and class, and from 1973 the 2a had a grey label of its own, with a red border and "R" numbers. Until 1971, many Ramírez guitars were stamped inside with the initials of the craftsman who built them – AM for Antonio Martínez, MT for Mariano Tezanos, PB for Paulino Bernabé and many more (see our list of Ramírez workshop luthiers). Later decades brought new models: the "Centenario", which roughly marked the workshop's hundredth anniversary; the "Da Cámara"; the shorter-scale C86 of 1986; and, under José Ramírez IV, the "Tradicional" and the "Especial".