Restauration

Romántic Guitar S.XIX - Antonio Royo,Zaragoza( 1864-1909 )

 Andrés Marín Guitar, Circa 1915-1932,

Palo Santo Río

Vicente Sanchis Flamenco Guitar, Circa 1970

Telesforo Julve Guitar, Valencia, Circa.1944

Fingerboards

The fingerboards, mainly made of mahogany/cypress/rosewood, are composed of two layers of different colors, the first red and the second black, and have 18 frets. These are made of copper and brass with a square section at the top. "Zero frets" (next to the nut), with edges or markings on the frets, have not been located yet. (except for exports to the United Kingdom that include markings on frets 3, 7, 9, and 12)

Neck

Mahogany, spruce, and cypress are frequently used. Spruce necks are often found in older guitars, combined with wooden tuning pegs. The neck has a traditional shape. The neck (the base of the neck) evolved gradually following traditional shapes and materials for the neck/neck joint: The oldest version is rounded, the more modern ones elongated, and the intermediate ones are found in the transition between both. Mahogany necks are joined with spruce wood to form the neck (a cheaper Valencian version). Older guitars have necks painted with additional red stone or black paint.

Head

Here are the shapes used by Julve: Rarely are the headstock and neck two separate pieces! Almost 100% of the time, they are made of a single piece. Until the 1960s, tuning pegs were made of wood. The tuners usually had bronze shafts. Modern ones, made of plastic, began to be used around 1960. However, replacement parts of all kinds can be found. The material of the tuner plates is often connected to the sides of the body. Inlays are generally related to the type of guitar headstock.

Tuning

It is believed that Julve bought all the tuning pegs from abroad. A detailed description of them can be found.

Soundboard

Julve always used solid spruce tops. No cedar tops have been found yet. Julve supplied harmonic tops to many guitar makers. The spruce used had varying quality, with fine or coarse grain, and even with wide wavy grain, forming typical patterns (more can be seen here). The tops could have or not have bracing, depending on their thickness: those with a thickness of 2 or 3 mm had bracing; those with a thickness above 3 mm did not. The braces could be 3, 5, or 7, and were arranged in a fan shape. The braces around the soundhole followed the traditional design.

Information: https://laguitarrabalear.blogspot.com/2018/12/telesforo-julve.html

Gioachino Giussani Guitar