1975 Aranjuez No. 6 Classical Guitar with Kohno Top I love classical guitars and I have the perfect hobby of playing, buying and selling them. I started out with one and now I have 12. What is great about this hobby is I can compare between makers and I keep the guitar that fits me and sounds the best to my taste. This guitar was the one I have played over a year. I bought and sold over 30 guitars in that time, many from some of the big names but this one was always my favorite. But that day has come and I found something a bit better but a lot more expensive. This guitar is an Aranjuez No.6 from 1975. It has a top made by the great luthier Kohno. I was able to compare this guitar a 1974 Kohno No.10 I liked it better. I also compared it with a many other guitars from Ramirez to various models of the recognized Japanese luthiers such as Nakade, Matano, Yamaguchi, Chia, Ichiyanagi, Tomita, Komori, Inaba, Shinano and more. With Guitars in this class it’s hard to say one is better than another it’s a matter of taste, akin to saying which a better painter a Monet is or Van Gogh. Plus it hard to judge the quality of maker efforts based on samples of a few models and the guitars can vary immensely from same maker and model. I make guitars and worked along side a major Luthier and 1 out of ten guitars will stand out for some reason the builder wishes he can repeat every time. For instance I was fortunate to be able to compare three Kohno’s side my side – 1974 no. 20, 1974 no 10, 1981 no 50. All were very good but the 1974 20 was way above the others, no question and you knew it the first few notes. This guitar has a sound that I kind describe as a cross between a Ramirez 1a and latter Kohno no 10. It has elements of both. The volume is on par with either one. It has a more Romanic character than the latter Kohno’s with a little less clarity but makes up this with more depth throughout. It is very even. I get a lot classical guitarists visiting and most say they love it couple say they prefer a different sound quality but all say that it is very good and easy to play. I don’t have the equipment to do sound samples and have heard enough samples to know the recording variables cancel out much judgments you can make from them. It has a 660 scale, yet everyone who played it was very surprised when I told them the scale. The neck dynamics make a big difference in playability and it is unfortunate that the myth playability of the 660 still exists. I had a 3 female players under 5’ 3” play it better that 2 other concert 650. I am almost talking myself out of selling it now. I was trying out some different strings and I have some Galli Genius Titanium Hard tensions currently which are brighter strings. The Labella 2001 median tension sounded really good also. The guitar is in very good condition with some minor playing wear, dinks and scratches. Please look asks questions. I want you to get a guitar that you will cherish and I want this guitar to go to a good home.
I have had several Kohno topped Aranjuez’s and two no. 6s. (Make sure you see the Kohno stamp, not all are Kohno topped}. The Aranjuez label is still is in existence today with different model numbers. It originally a joint venture involving Juan Oronzo, Kohno and Takemine. Currently only the top model 720 has a top made by Sukurai the rest were made by Ryoji (Ryoji’s are very decent guitars). To make matters more confusing there are some Aranjuez models made after 1978 with Kohno bracing and rosettes made solely by Takemine and there are Takamine Model 5 with Kohno bracing and Kohno’s style Rosette but Kohno had nothing to do with the construction. This particular Aranjuez No. 6 is different than all the others I owned including the one other Aranjuez No. 6. For one it sound better and the construction has what appears a neck joint similar to Kohno guitars where the others clearly have a dove tail. Another seller, I consider an authority, said that there are some Aranjuez No. 6 that were a joint venture between Kohno and Takemine master Luthier Hirade which would be a special collaboration. Some History stuff from other sources
Aranjuez was a small artisan work shop in Japan during the late sixties and seventies which the famous luthier and classical guitar promoter Juan Orozco started in associated with Kohno and Takamine. Kohno was the lead Luthier and guitars with his stamp are the similar same sound quality as his labeled guitars made at the time. The bodys were provided Takamine (and perhaps Ryoji?) and Kohno prepared the top and final assembly and inspection. Making guitars this way allows guitars to be offered at lower prices. The top is responsible for about 90% of the final sound of the guitar. After 1978 Kohno l have not scene Kohno stamp Aranjuez. The numbering system change and currenly the 720 model has Sakurai top with the rest of the line made by made by Ryoji Matsuoka workshop ( a great luthier himself). Juan sold the Kohno’s made guitars with the Orozco label as Models 8, 10 and 15 and these are quite expensive and collectable today. This guitar was made for the domestic market and the No 6 would have been a very expensive guitar at the time and was their top model offered. Scale: 662 mm
Nut: 52mm
Action 12th Fret: 3.3 mm 6th string
Saddle Height above bridge: 2.4MM
Top: Spruce
Back: rosewood
Sides: Rosewood
Neck: Straight. No bowing and the neck has not taken a set.
Bracing: Kohno.
Condition: Very minor wear which can be expected from a 41 year old, little dinks and scratches. Look at the pictures. I love questions. , its in very good condition and plays beautifully.