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julius borges guitars
Description
Julius Borges Guitars:
Julius Borges is a guitarmaker, based in Littleton, Massachusetts. He moved to the Boston area in the mid 70's to attend the Berklee College of Music. He was gigging and working at a guitar shop where he started to learn some guitar repair work. This rekindled his interest in woodworking. His grandfather Sullivan had a basement workshop that Julius was always fascinated by. He rented a small shop space, from a former Aerosmith roadie, and started acquiring tools and skills. This led him to a job at Boston Cabinetmaking, a shop owned by two North Bennett Street School graduates. It was here that Julius learned and honed his hand tool skills working on antique furniture repairs and furniture making ...
Let Julius Borges' unique understanding of vintage guitars and period woodworking techniques provide you with an instrument that will astound you for a lifetime.
Julius Borges is a guitarmaker, based in Littleton, Massachusetts. He moved to the Boston area in the mid 70's to attend the Berklee College of Music. He was gigging and working at a guitar shop where he started to learn some guitar repair work. This rekindled his interest in woodworking. His grandfather Sullivan had a basement workshop that Julius was always fascinated by. He rented a small shop space, from a former Aerosmith roadie, and started acquiring tools and skills. This led him to a job at Boston Cabinetmaking, a shop owned by two North Bennett Street School graduates. It was here that Julius learned and honed his hand tool skills working on antique furniture repairs and furniture making ...
Let Julius Borges' unique understanding of vintage guitars and period woodworking techniques provide you with an instrument that will astound you for a lifetime.
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Date
Jan 29, 2006
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Link ID
12467
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In this age of digital relationships, digital sound, and immediate gratification, we often lose sight of the hands-on nature of the arts. To me, guitar making is more than technique or science, more than just the finished product. It is an experiential, hands-on relationship one develops over years of trial and error, and comes to life when one develops a deeper insight into the medium with which one is involved.
These days, many builders feel it is imperative to maximize one's time; time is money. By designing a better jig or router combination, luthiers hope to make each part of the instrument more precise, more quickly. While I understand the need for efficiency, my experience tells me the more one physically removes the hands from the wood, the less one understands what that particular piece of wood needs.
A truly great guitar needs the human touch, intuition, and insight; therefore, I still primarily use hand tools so that I may feel the wood as I work with it. Moreover, I still use traditional glues and finishes, for I believe this helps the instrument maximize its potential. I try to build each section of the guitar in such a way that all its parts work together, and the instrument becomes a unified expression. This, to me, is the art of luthiery. When a guitar becomes a "product", it ceases to be a true expression of musicality ...
Becoming a luthier was a very pleasant surprise in life. As a young boy my parents and I purchased a viola from a violin maker and repairman who told me "you have workman's hands". An interesting thing to say to a budding musician, but in the end, it was true. As it came to pass, nearly twelve years later in 1972 , I began my studies as a violin maker/ repairman with this very man, Mr. Ed Hunnington, in California.
My mother, of course, had her hand in this "surprise". In 1970, desperately searching for a Christmas present for a son who was interested in everything, she, for some reason, bought me a Dulcimer kit. I so enjoyed building that instrument on the dining room table of my apartment, using a couple of hand tools and books for clamps, I had to try building another which eventually led to other types of folk instruments.
Another craftsmen friend encouraged me to build a guitar. With some trepidation I did, and then I built another and another and so on. Two whirlwind years later, I was studying violin making and repair while serving a two year apprenticeship with the above mentioned luthier ...
In this age of digital relationships, digital sound, and immediate gratification, we often lose sight of the hands-on nature of the arts. To me, guitar making is more than technique or science, more than just the finished product. It is an experiential, hands-on relationship one develops over years of trial and error, and comes to life when one develops a deeper insight into the medium with which one is involved.
These days, many builders feel it is imperative to maximize one's time; time is money. By designing a better jig or router combination, luthiers hope to make each part of the instrument more precise, more quickly. While I understand the need for efficiency, my experience tells me the more one physically removes the hands from the wood, the less one understands what that particular piece of wood needs.
A truly great guitar needs the human touch, intuition, and insight; therefore, I still primarily use hand tools so that I may feel the wood as I work with it. Moreover, I still use traditional glues and finishes, for I believe this helps the instrument maximize its potential. I try to build each section of the guitar in such a way that all its parts work together, and the instrument becomes a unified expression. This, to me, is the art of luthiery. When a guitar becomes a "product", it ceases to be a true expression of musicality ...
Becoming a luthier was a very pleasant surprise in life. As a young boy my parents and I purchased a viola from a violin maker and repairman who told me "you have workman's hands". An interesting thing to say to a budding musician, but in the end, it was true. As it came to pass, nearly twelve years later in 1972 , I began my studies as a violin maker/ repairman with this very man, Mr. Ed Hunnington, in California.
My mother, of course, had her hand in this "surprise". In 1970, desperately searching for a Christmas present for a son who was interested in everything, she, for some reason, bought me a Dulcimer kit. I so enjoyed building that instrument on the dining room table of my apartment, using a couple of hand tools and books for clamps, I had to try building another which eventually led to other types of folk instruments.
Another craftsmen friend encouraged me to build a guitar. With some trepidation I did, and then I built another and another and so on. Two whirlwind years later, I was studying violin making and repair while serving a two year apprenticeship with the above mentioned luthier ...
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prestigious companies, Antonio Aparicio, has acquired in his new professional step the
commitment of reaching the highest quality in the instruments with his signature.
In our new workshop, we have joined the best craftsmanship of our workers with the
advantages that offers the advanced technology applied to our first ambition: To build
guitars with the best sound and tone, with the best woods, materials and with the greatest
finish and beaty.
Any guitar of our catalogue, from the Standard series to the Signature series, is built
with solid top and varnished with the traditional finish, not with polyester. Our new finish
provides a better looking of the wood, a great sonority, and a brillant and bigger sound.
Each model has been designed thinking in the performance qualities that the player is
going to requiere to the guitar. For this reason, we have included several bracings and
the most appropiate woods for getting the sounding features that define each model.
Different inner compositions and the combination of the woods in the construction
make each guitar special.
We have selected the best woods around the World, the best crafstmen and we have
put a lot of daydreaming and ideas for building the best Guitars.
Después de más de 35 años de experiencia como constructor de guitarras y socio
fundador de prestigiosas marcas, Antonio Aparicio ha adquirido el compromiso
personal en su nueva etapa profesional de alcanzar las más altas cotas de calidad
en aquellos instrumentos que lleven su firma.
En nuestros talleres hemos combinado el buen hacer artesanal de nuestros profesionales
con las ventajas que nos ofrece la tecnología de última generación, aplicada a nuestro
objetivo primordial: construir guitarras con el mejor tono y sonido, con las mejores
maderas y materiales y con el mejor acabado y belleza.
Cualquier guitarra de nuestro catálogo, desde la serie Standard hasta la serie Signature
se construye siempre con tapa sonora de madera maciza y en el acabado se utiliza,
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de sonido.
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a su guitarra. De esta forma hemos incluido barretajes interiores distintos y maderas
adecuadas a cada modelo con el fin de obtener las características sonoras que los definen.
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