Hermann Hauser III

Hermann Hauser III started making guitars in 1974. At the age of 15, he became apprenticed to a local stringed instrument maker and after winning the highest national awards for apprentices he attended a school for instrument building in Germany.

In 1978 Hermann began to work in his father's company. "I had to start all over again with instrument building". "The most important influence on my work and my career was my father's teaching".

Hermann spent several years finding the right balance between the traditional Hauser and his own ideas. Hermann's methods have tended to follow the traditions of his grandfather and father from whom he has inherited a considerable quantity of wood.

Hermann only builds around 12 to 15 guitars per year and feels that it is the ability of a guitar to project that makes a guitar great.

Models.

Hermann Hauser III

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Special Edition Model

Hermann Hauser

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I have to start with the stunning looks of this guitar.

The table has the appearance of rippled honey, the rosewood appears to be on fire and the workmanship immaculate. She speaks of the history and quality of the luthier and is simply a beautiful work of art to own!

However, this is not enough of course for a concert instrument and so on to the important bits.

I was immediately struck by her even, rounded and easy tone. It seems that a beautiful, pure and focussed sound is the norm for this guitar. This means that long melodic lines, voicing and detail within chords become much easier to attain, in turn helping the player to develop their musicianship through these important skills. The sound is even and beautifully balanced across the strings, giving you excellent control and as I played I could hear the colours and textures coming out and "growing".

These qualities were particularly evident as I was playing Britten's "Nocturnal" which is a piece that relies heavily on the player being able to communicate the emotions described in the titles of each movement.

The single line melody of "Musingly" was a delight to play and the clarity and definition for "Restless" and "March like" were seemingly effortless. The ntertwining lines of the final Dowland song were easy to highlight and shape and I was able to get a tone that really brought out the emotion of the original words.

This focus and purity in sound really opens lots more doors as you are playing and gives you many more options to work with.

I played a variety of other music and was surprised at the versatility and range of colour already available in such a new guitar. The fullness of the bass voice came into its own in Gary Ryan's Wild West pieces, where I also found the overall clarity of the guitar helped to define the driving and complicated rhythms.

Again, the bass was rich and full in the Chaconne and the definition was not lost, leading to beautiful "scrunchy" harmonies.

I really enjoyed playing this guitar, particularly as she responded to my thoughts and was able to "sing" my musical ideas without me having to try hard!

Definitely an instrument with an exciting future.

Selina.


Design

Segovia Special Edition model

Table

Aged 50 year old Spruce

Rosette

Maple & Indian Rosewood

Back and Sides

4 Piece Finest old Brazilian Rosewood

Machine Heads

Scheller

Finish

Nitro or French Polish

Case

German - Hand made - wood


Scale Length

650mm

F/board Width

52mm

Upper Bout

282mm

Lower Bout

36.6mm

Body Depth

100mm

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