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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.
There are a few Hauser instruments with a one-piece neck and head with a separate solid heel. This was done when a large piece of exceptional wood was available.
Head One of the most distinctive features of the Hauser guitar is the head. The Hauser head consists of three lobes, a large center semicircular lobe with a quarter circle lobe on each side.
It comes from the old tradition of the 13th century Fussen lute makers. The male end that is part of the neck shaft and the female end located in the head.
The sidewalls of these parts are tapered so they lock into place. The female end does not go all the way through the head but stops mm short.
A side view of the Hauser guitar will show that the head sticks up a few millimeters above the line of the neck shaft. This is not a consistent feature but is used in Hauser instruments from the s to today.
Various widths and lengths have been used. The head angle is commonly set at about nine degrees. Bridge Locating Pins Another of the unique construction details of the bridge is the use of two locating pins found between the saddle and the tie block.
They vary from two to three millimeters in diameter. Sometimes they are located under the first and sixth strings and at other times they are between the two pairs of outer strings.
These locating pins extend into the top of the instrument locking the bridge in place, which would assist in locating the bridge after varnishing.
The outline of the bridge would be scribed with a sharp knife and the varnish scraped away to prepare the top for gluing the bridge. At times Hauser Sr.
For example, in he built a guitar with East Indian Rosewood sides and a Brazilian back. The use of maple is also found for backs and sides, but is not very common.
Hauser III has frequently used a four piece back consisting of two outer pieces of Brazilian Rosewood and two maple pieces in the center along with Brazilian Rosewood sides.
Bubinga has sometimes been used in backs and sides, but is the least common tone wood used in the Hauser guitar. The majority of soundboards used in Hauser guitars are made of spruce.
On occasion the tops are mismatched. One possibility for this could have been the destruction of the workshop during World War II and the surviving inventory of soundboards may have been mixed up.
Or, the tops may have runout, which is diagonal grain in relation to the plane of the soundboard.
Runout causes a refractive shift in the aesthetic of the top in which one half of the top looks light and the other half looks dark in color.
To avoid this the Hausers may have decided not to book-match some of their soundboards but join them so that they have matching runout.
One aspect that separates the Hauser guitar from the Spanish school is the use of thicker soundboards. The Hauser soundboard thickness has an average range of 2.
This definitive characteristic is one of the most overlooked aspects of the Hauser design and all too often is neglected in replicas of this model of guitar.
They first started using nitrocellulose lacquer in the s, 10 years prior to the use of catalyzed finishes by the workshop of Jose Ramirez in Madrid.
Soon after this, Segovia said the first string died and stopped playing the instrument. It has a strange vibration and furthermore there are two notes on the first string that do not have the same intensity as the others.
I would like you to repair it for me. The current standard used by Hauser III is to French polish the top and use nitrocellulose lacquer on the back, sides, neck and head.
Hauser III has found that there is no advantage to the use of shellac compared to lacquer for sound. Musical Attributes Andres Segovia and Julian Bream, two influential classical guitarists of the 20th century, both performed on Hauser guitars.
The bass is deep but finely focused; it is sustained but has great clarity. The treble strings have a bell-like quality and a sweetness of tone that is never cloying.
The third string which, on most instruments, can sound tubby and lacking a true center, on a great Hauser had a profound ring about it, and when played softly is quite magical.
And because of this concentrated focus and clarity of sound, and its consequent fine separation of detail in both contrapuntal and chordal music, this type of guitar is ideally suited for use as a concert instrument.
Conclusion The Spanish guitars of the Hauser tradition have influenced luthiers around the globe. My research into the Hauser tradition has opened my eyes as to what makes a Hauser guitar.
In this paper I have examined the history and described details of aesthetic and construction. These details are important in capturing the spirit of this model of guitar.
The meeting of Segovia and Hauser gave a non-Spanish builder a credible endorsement that Spaniards are not the only ones that can build the guitar. Since the meeting of these two greats the world of the classical guitar has never been the same.
Guitar building is booming around the globe. David Schramm. Brune, Richard. Cleveland, Russel. London: Outline, It's worth remembering that travelling back then was much more arduous than nowadays.
However, the two World Wars soon ushered in hard times for our family. Guests stayed away and my grandparents were obliged to turn the hotel into a military hospital.
After the end of the Second World War, the Hotel Credit Commission dealt another blow, when it assessed the hotel and declared it a total economic loss.
It was only thanks to the outstanding teamwork and untiring efforts of all members of the family and staff that the hotel was able to re-open and once more live up to my grandfather's original ideas.
Thanks above all to my mother's natural warmth and hospitality, we attracted many guests from Europe and the USA. In den feinen Destillaten von Hauser leben diese alten Rezepturen fort.
Seit mehr als 30 Jahren werden die Hauser Schnäpse nun aber von der Freihof Destillerie hergestellt und vertrieben, einer Traditionsbrennerei mit weit zurückreichender Geschichte, Erfahrung und Expertise.
Daraus entwickelte sich die heutige Freihof Destillerie. Seit damals widmet sich die Familie der Herstellung erlesener Obstbrände.
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.