The Hernández y Aguado model under construction.
The soundboard is at its thickest in the middle, whereas the edges are thinner, but I essentially go by intuition are not the same, and, what’s more, the guitars themselves have changed a great deal as they have aged. But they are similar enough...” Orfeo - How many guitars do you make in a year? L. N. - “When I was younger I would make as many as 12 instruments a year, but now I have cut down and make only half of that, with the help of my son, Rubén.” Orfeo - Is it true that you have built more classical guitars than flamenco guitars? L. N. - “Yes, most are classical.” Orfeo - You make guitars modelled on those of Santos Hernández, those of Hernández y Aguado, and those of Torres, but what are your very own guitars like? L. N. - “The bracing is based on that of Santos, although I do add a small extra strut under the trebles and reinforcement under the bridge. But the bracing varies depending on the degree of
flex in the soundboard. Some tops are stiffer, and others more floppy; I tap them, listen to the sound, and adjust the thicknesses and the bracing in accordance with soundboard wood. I don’t use a gauge; experience is the best guide. The soundboard is at its thickest in the middle, whereas the edges are thinner, but I essentially go by intuition. People like large guitars, but I think that a smaller guitar makes for improved trebles and offers better overall balance. It is always easier to bring out the base notes. I prefer to reduce the volume of air a little bit. Guitars nowadays are bigger, but are mostly based on the Torres guitars. It is impossible to make a good guitar without a solid understanding of this underlying foundation. In addition, I have always enjoyed making replicas of historical instruments. I use several different templates: Muñoa, Llorente, Pagés.” Orfeo - Some of your guitars have two dates on the label; why is that?