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These lines can be found on the back, sides, top, rosette and head of a guitar. The most commonly used purfling scheme, which is also one of the most noticeable, is that of side purfling.
This technique usually consisted of two thin white lines of either holly or maple with a thicker green dyed central line. I have seen and photographed a Manuel Ramirez guitar featuring exactly the same side purfling treatment.
This white-green-white motif was used by Hauser Jr. It was never used in the non-Spanish style Hauser models. In the s Hauser also used single white line purflings and blond bindings made of maple with no side purflings in instruments such as the Llobet FE09 Torres.
Close inspection reveals that not all of the green lines are consistent in their color matching. This could be due to different batches by the veneer vendor or by the Hausers themselves.
Around this motive was added to the top purfling. The Hausers had two basic top purfling motives that are consistent with all three generations.
The first, starting with the binding, follows the following scheme: binding, white-black-white, rosewood or dark wood , white-black-white and two narrow black lines.
After World War II we start to see the following scheme: binding, white-green-white, rosewood or dark wood , white-green-white and two narrow black lines.
Other purfling schemes have been used but the above schemes are the most common and are what I consider part of the defining aesthetic elements of the Hauser guitar.
Another point to consider are the joinery aesthetic of the side, back and tail purfling. Most modern builders will mitre the side purfling to the tail purfling at a forty-five degree angle.
The back perimeter purfling is also continuous. It is not mitred. The back center purfling extends over the heel to form the heel cap, but is divided by the back perimeter purfling.
Some of the features of this article include detailed measurements of the purfling and includes some detailed photos of the instrument.
Some of Hauser Sr. One of the unique things about the rosette tiles of the Hauser guitars is that they used no end grain.
Most of these central tile motifs are very basic patterns such as crosses and diamonds. It is easier to use side grain when applying basic patterns.
The advantage of doing so is that the medullary rays found in the side grain will shimmer. End grain tiles would absorb the light dulling the effect.
Natural woods are used except for the greens and reds. For example: for brown, various rosewoods are used; for black, ebony or a dyed veneer. White lines are usually maple or holly.
A frequent motif in the outer rosette rings is the half-herringbone pattern. Construction Elements I explained the historical and aesthetic elements of the Hauser Spanish guitar in the previous sections.
In this last section the construction elements of the Hauser Spanish guitar will be observed. As the construction elements are discussed the reader should keep in mind that Hauser was well established as a maker of the Viennese style of guitar construction.
Linings The linings of a guitar are used to increase the surface area of the sides so that the back and top can be glued to the sides.
The early Hauser Spanish guitars used a solid quarter sawn lining onto which the back was glued. This back lining is usually made from spruce or mahogany.
Until Hauser was still using solid linings for tops and back, something often found in the Viennese style guitar, but in the s he started to experiment.
As the Hauser guitar evolved variations of the lining were used. One interesting observation is that even though he used a solid bent lining in some of his instruments, specific areas were kerfed after they were glued.
This would explain the uniformity of the kerfs found in the linings, especially at curved sections. Hauser Jr. In some instruments he would use kerfed spruce lining for the tops, but he would leave one centimetre on each side of the transverse bars unkerfed.
For back lining he would use mahogany that was kerfed only in the lower bout and solid in the upper bout.
Hauser III on the other hand kerfed his mahogany back linings between the top and middle back braces and also in the lower bout, but the upper bout was kept solid.
Fretboard One of the most mysterious details of the Hauser family Spanish guitar is that all three generations did something to the fingerboard that has been kept a secret.
In the area of the frets, the bottom of the fingerboard has a one millimetre counter veneer. The Hausers seem to have experimented with different materials.
In some instruments it looks like mastic or a combination of hide glue and ebony dust was used. Andrea Tacchi who restored a Hauser Jr.
This is only one thing, which a Hauser guitar has more in the construction like on other guitar.
Many small pieces make in the end a big thing. If you think only for the small piece under the fingerboard I am sure you will find the right answer.
Many people in the guitar world think on this piece but not every one found the right answer. Sorry that I do not tell it exactly.
I hope you understand this. This is special and I know because it is a small piece under the fingerboard. You can be sure that it has sense.
There are four right answers and this has also to do with the whole construction. I am sure you found by yourself two right answers.
After receiving this answer I became more intrigued. Other luthiers that I spoke with regarding this material mentioned that Hauser told them the same thing.
Some wondered if Hauser III even knew why he used it. In my opinion I feel that it was used to counteract or slow down the different expansion and contraction rates of the hardwood ebony and the softwood spruce and cedar tops.
This would help prevent cracking along the grain of the soundboard where it meets the fingerboard. This theory resolves one of the four answers, but the other three baffle me.
It could also have something to do with the influence of the Viennese style instruments where the fingerboard above the soundboard does not touch.
The most commonly used is Honduras Mahogany, but Philippine and African Mahoganies have also been used. A consistent characteristic of the Hauser heel is the use of a one-piece heel instead of the common practice of stacking the heel in several layers.
It's high time you saw the world and learned something. Back then my grandfather Johann was living as a poor farmer son in the Bernese Seeland region of Switzerland, earning his daily bread as a seasonal worker in the tourist trade: in Egypt during the winter and in Interlaken during the summer.
Wanting to settle, he was faced with the choice of emigrating to Egypt or remaining in Switzerland. Before he returned to Cairo, he and some friends crossed the Alps from the Ticino to Grindelwald.
When he arrived at First, he wrote in the alpine hut's visitors' book about the decision facing him. So it was that, in the as-yet undeveloped valley of Grindelwald, he came to choose our unique and sun-kissed location which overlooks the entire valley yet stands at the gateway to the village centre.
Gebhard Hämmerle, Enkel des Gründers, übernahm die Leitung der Destillerie und machte sie zu einer der angesehensten Destillerien und Herstellern von Edelobstbränden in ganz Österreich.
Erlesene Vielfalt nach alter Tradition Im österreichischen Lebensmittelhandel sind die erlesenen Hauser Schnäpse mittlerweile Marktführer.
Da ist es nicht weiter verwunderlich, dass auch die Destillate reihenweise Ehrungen und Auszeichnungen abräumen. Aufgrund des hohen Versandvolumens, kann es derzeit zu Verzögerungen bei den Versanddienstleistern kommen.
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