José Luis Romanillos - 1979 - La Diez Y Ocho No. 571
José Luis Romanillos - 1979 - La Diez Y Ocho No. 571
Details
Details
Overview
Overview
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Shipping important note
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Details about GPSR
Details about GPSR
Video overview
More details about the guitar
About the luthier
José Luis Romanillos Vega was born in Madrid in 1932, where he began his cabinet-making apprenticeship at the age of thirteen. In 1956, he moved to England to work at a hospital in Epsom and shortly afterward in London. It was during this period that he built his first Spanish guitar in 1961. Encouraged by the English guitarist Julian Bream, Romanillos established a guitar-making workshop in the village of Semley, Wiltshire, in 1970. His guitars have since been celebrated by musicians around the world for their sound quality and aesthetic refinement. Romanillos sought clarity, harmonic balance, and what he described as the elusive “Spanish sound”, qualities he consistently achieved through his craftsmanship. The Daily Mail once referred to him as “the Stradivari of the guitar,” and the Italian magazine Sei Corde called him “the most important living stringed instrument maker.” Beyond building guitars, Romanillos gave lectures and seminars on guitar making and the organology of the instrument, and he conducted courses in various countries. He also researched and lectured on the history and development of the Spanish guitar and the vihuela de mano. He was a member of the Crafts Council of Great Britain for ten years. From 1995 onward, he lived in Guijosa, a small rural district of Sigüenza in the province of Guadalajara, Spain. Together with his wife Marian, he published the reference work The Vihuela de Mano and the Spanish Guitar in 2002, a comprehensive dictionary of Spanish stringed-instrument and guitar makers.About the guitar
“La Diez y Ocho”, numbered 571, is a landmark instrument in the œuvre of José Luis Romanillos. Built in 1979, its name, meaning “The Eighteen”, was chosen to commemorate the 18th birthday of Romanillos’ son Ignacio. The serial number beginning with 5 indicates that this guitar was constructed using a plantilla based on a 1930 Hermann Hauser I model, which Romanillos held in high esteem for its refined proportions and tonal balance.
This particular guitar holds exceptional provenance, having belonged to the Japanese guitarist Yoshinobu Iwanaga. It was the instrument he played during the 1982 edition of the Segovia Guitar Competition, with Andrés Segovia himself in attendance. Iwanaga’s performance with this guitar is documented in a filmed documentary covering that year’s competition, where several segments show him performing on stage with “La Diez y Ocho.”
One of the most distinctive features of this guitar is its headstock. Unlike the typical Romanillos design with three rounded arches, this head displays a softly pointed “Pope’s hat” profile. In A Collection of Fine Spanish Guitars, Sheldon Urlik recounts that according to correspondence with Romanillos, this shape was not part of a deliberate design plan. Instead, it emerged gradually and intuitively during the carving process. Romanillos found the form pleasing as it took shape and decided to preserve it, allowing the wood and his hand to guide the outcome rather than adhering strictly to his usual template. He noted that only one of his guitars, the 1980 “La Filmá” (No. 575), had this head shape, making it a singular occurrence in his body of work. Yet this 1979 guitar now reveals a second, previously undocumented instance of this rare profile. This subtle but significant departure highlights Romanillos’ sensitivity to form and his willingness to embrace the uniqueness of each instrument as it developed under his tools.
This detail, combined with the guitar’s documented history and exceptional craftsmanship, marks it as one of the most historically and artistically significant Romanillos instruments.
Condition
This 1979 Romanillos is in excellent condition, with only minimal signs of use consistent with its age and professional history. There are no cracks or structural repairs. The French polish has been well preserved, and the instrument retains its full aesthetic and acoustic integrity. The Klaus Scheller tuning machines, crafted to a high visual and mechanical standard, complement the guitar’s refined appearance and add to its collectible value.
Regular care extends the life of the instrument
Even with careful use, a classical guitar may gradually change in appearance or respond to unstable storage conditions. Have a close look at your guitar regularly and be attentif to changes. If your instrument is suffering from its environement, it will let you know.
Protect Your Guitar: Handle with Care
Be mindful when touching your instrument with greasy or unwashed hands: any skin contact is a small attack on the varnish. Of course, a guitar is made to be played, but taking a few precautions helps preserve its beauty: wash your hands before playing, wear long sleeves, and avoid unnecessary direct skin contact with the body of the instrument.
Pro tip: Avoid playing with a button-up shirt, heavy jewelry, or a belt, as these can scratch the guitar. Also, make sure your guitar case is free of any objects that could damage the instrument during storage.
String care
A good habit to adopt is wiping down your strings briefly after each playing session. This small action significantly extends their lifespan and helps maintain a consistent, comfortable feel under your fingers.
Most importantly, clean strings are essential for keeping your instrument in tune. Corrosion, sweat, and dust can affect the uniformity of the strings and interfere with accurate tuning across the entire fingerboard.
Pro tip: If you're having trouble getting your guitar in tune, it might be time to change the strings. A useful test is to compare the pitch of the 12th fret harmonic with the fretted note at the 12th fret; if there's an unusually large gap between them, your strings may have lost their integrity and should be replaced.
Keep Your Shellac Finish Shining!
Got a guitar with a shellac (French polish) finish? Here's a simple trick: Take a clean microfiber cloth and gently breathe on the surface to create a light mist. Then, softly rub to remove fingerprints, sweat, and grease. That’s usually all it takes to keep it looking great, no products needed!
Pro tip: Every few years, treat your guitar to a check-up with a luthier to keep it in top shape.
Storing Your Guitar: Climate Matters
Your guitar can safely stay outside its case, as long as the surrounding environment maintains 42–55% humidity and a temperature between 18–25°C.
Keep in mind that humidity levels can still fluctuate inside the case, especially during seasonal changes.
- Too much humidity may cause overtightened strings and a dull tone.
- Too little humidity can lead to a bulging top, string buzz, or even cracks.
Avoid placing your guitar near radiators, air conditioners, or windows with direct sunlight.
Pro tip: Always close your guitar case while playing. This helps preserve a stable microclimate inside the case, so your instrument is protected the moment you put it back in.