José Rubio - 1965 No. 61
José Rubio - 1965 No. 61
Details
Details
Overview
Overview
Shipping important note
Shipping important note
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Details about GPSR
Details about GPSR
Video overview
More details about the guitar
About the luthier
David Rubio (1934–2000), born David Joseph Spink in London, stands as one of the most significant figures in modern British lutherie. After leaving medical school in Dublin, he moved to Spain in the 1950s, where he worked as a flamenco guitarist and adopted the professional name “José Rubio.” His transition into lutherie began during his time in the United States, where he studied under Miguel Company in Miami before building his first guitars in New York in the early 1960s, guided largely by memory. Rubio’s work quickly gained attention, particularly from Julian Bream, who had lost his beloved Bouchet and was seeking a replacement. With Bream’s support, Rubio crafted instruments first in the Bouchet tradition and later drawing from Santos Hernández and Enrique García. His guitars became a mainstay of Bream’s performances and recordings from the mid-1960s onward. Rubio’s influence helped define what is now recognised as the English school of classical guitar making.
About the guitar
Built in 1965, this guitar is from the same pivotal year as Julian Bream’s famed Rubio No. 31, and shares the tonal architecture that marked the beginning of Rubio’s mature style. Featuring a spruce soundboard and Brazilian rosewood back and sides, it represents Rubio’s synthesis of French and Spanish influences, guided by Bouchet’s tonal clarity and Santos’s structural elegance. The internal layout and air resonance, tuned to G sharp, offer a firm foundation for a voice that is luminous, balanced, and precise. The guitar excels in separation and sustain, supporting a nuanced touch with a distinctly “pianistic” clarity, while retaining the warmth and intimacy characteristic of traditional concert instruments. Projection is focused and controlled, ideal for expressive phrasing across a wide dynamic range. Its distinctive response and refined musicality position this instrument firmly within the early peak of Rubio’s concert guitar output.
Condition
The guitar is in good condition, with two repaired cracks typical of age and climate stress near the fingerboard, stabilized with three internal cleats. The finish and structure remain stable, and the instrument is fully functional.
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.