José Luis Romanillos - 1984 La Violeta
José Luis Romanillos - 1984 La Violeta
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 and began his apprenticeship in cabinet making at the age of thirteen. In 1956 he moved to England, where he first worked in hospitals in Epsom and London. It was there, in London, that he built his first Spanish guitar five years later. Encouraged by Julian Bream, Romanillos established his workshop in Semley, Wiltshire, in 1970 and from there developed a body of work that would become central to the history of the modern classical guitar.
Romanillos was not only one of the most respected makers of his generation, but also an important researcher, lecturer, and teacher. He gave courses in Spanish guitar making in many countries and spoke widely on the history and development of the vihuela de mano and the Spanish guitar. After moving to Guijosa near Sigüenza in 1995, he continued his scholarly work in close collaboration with his wife Marian. Together they published the reference work The Vihuela de Mano and the Spanish Guitar in 2002. His instruments are admired for their clarity, balance, and their highly personal understanding of the Spanish guitar tradition.
About the guitar
Built in 1984, this guitar named “La Violeta” is a traditional Romanillos instrument with spruce top and Indian rosewood back and sides, finished in French polish. It shows the refined decorative vocabulary so closely associated with the maker, from the rosette to the subtle details at bridge, headstock, and back, all executed with exceptional control and a strong sense of proportion.
According to the playing impressions provided, the guitar has a highly individual voice shaped by sustain, tonal elasticity, and a remarkable evenness across the register. The sound is intimate rather than demonstrative, with a strong sense of beauty in the tone and a balanced intensity from note to note. It is not a guitar that gives away its full sound immediately. Instead, it invites the player to work actively with touch and control, rewarding that effort with a wide dynamic range and a consistently high quality of tone from the softest attack to a more powerful projection.
Particularly striking is the way the instrument combines restraint with richness. The response does not rely on sheer immediacy or overt loudness, but on shape, depth, and the ability to sustain a singing line. This gives the guitar a sincere and cultivated character, with a voice separation that remains clear and a tonal balance that feels deeply considered. In this sense, “La Violeta” represents Romanillos at his most characteristic, combining precision of craft with a sound world of intimacy, colour, and long musical breath.
Condition
The guitar is in very good condition. There are eight cracks on the top, all professionally repaired and stable. The repairs are well executed and the instrument presents as a carefully maintained original example.
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.