Neck：Mahogany
Fingerboard：Ebony
Finish：Lacquer
Tuning Machine：unknouwn
String height：1string　3.2mm/6string　4.0mm

[Profile]
Jose Ramirez is the most well-known Spanish guitar brand in the world and a workshop with over 100 years of history. From the time of Jose Ramirez I (1858-1923) to the present Jose Ramirez V, the brand has been one of the most important in the history of Spanish guitar making for over a century, and still has a worldwide market. The guitars produced during the reign of Jose Ramirez III (1922-1995), an era of fertility that has been described as the "Ramirez dynasty," were innovative yet widely popular, attracting guitarists and guitar fans from around the world.
Jose Ramirez II (1885-1957) began working very early on in his father's workshop, which, according to Ramirez III, was a great place to learn to make guitars, with master craftsmen such as Enrique Garcia and Julian Gomez Ramirez, apprentices of Ramirez I.
However, Ramirez II, who was also an excellent guitarist, was invited by a band to accompany them on a performance tour of South America in 1904, and settled in Buenos Aires, an Argentine city where he started his family (Ramirez III was born at this time).
After the death of Ramirez I in 1923, Ramirez II returned to Madrid and took over his father's workshop. At that time, Alfonso Benito, Manuel Rodriguez, and others were working in the workshop, as well as Marcelo Barbero I (1904-1956) as an apprentice. (Barbero I taught the still-young Ramirez III how to make guitars before becoming independent.)
Ramirez II's guitars were well received and won several awards, and although the company went through a difficult period during the Spanish Civil War (1936-1939), the work of Ramirez III and the addition of Paulino Bernabe to the workshop in 1953 laid the groundwork for a prosperous period.

[Description]
Jose Ramirez II, 1957, is in stock, made in the year of his death, probably under the supervision of Bernabe and others who were active in the workshop at the time.
The rigidity and clarity of the sound is very Madrid-like. The sound has density and luster, and is powerful enough. The acoustic design, in which the high notes come forward, reminds one of the flagship model 1A of Ramirez III, and the tone overflowing with a singing spirit is very appealing. There is a repair history of complex cracks in the center of the sound board, both sides of the fingerboard, and the bass side of the bottom section. The repair was done by gluing only, not by reinforcing the patches from the inside, but appropriate measures have been taken.

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