Neck：Mahogany
Fingerboard：Ebony
Finish：Lacquer
Tuning Machine：Landstorfer
String height：1string　2.6mm／6string　3.5mm

[Profile]
Hauser Guitars is without a doubt the best German guitar brand of the 20th century, and is still a long-established brand with four generations carrying on the tradition and continuing to build guitars from the first generation for over 100 years.
Hermann Hauser I (1884-1952) improved his own guitars based on the Antonio Torres owned by Miguel Llobet and the Manuel Ramirez owned by Andres Segovia. It is well known that it became the 'ultimate' guitar, which later became known as the 'Segovia model.' It was the greatest event in the history of guitar making since Torres's reform of the guitar, and had a profound influence on both guitar playing and making in the years that followed.
Hauser II, the son of the first, began working in his father's workshop in 1930 after four years of learning at a violin-making school in Mittenwald, known as one of the best string instrument-making cities in Germany. They worked almost exclusively together to make guitars, which were shipped under the label Hauser I.
When Hauser I died in 1952, Hauser II officially took over the brand and produced the first label (No. 500) with his own label. Since then, he was extremely active and shipped more than 500 guitars until his retirement in 1983. Like his father, Hauser II matured his own production philosophy through his interactions with master players (Segovia, Julian Bream, Pepe Romero, etc.), and by clarifying his own Germanic acoustic tastes, he produced many masterpieces with different characteristics from those of Hauser I.
He also clarified his own Germanic acoustic orientation, which was probably a quality of his own. The guitars of 1958 and 1960, which Bream loved to use, are famous for their sound, which is even more penetrating than that of the first generation, with a classical elegance in the perfect balance of every single note, making them unique guitars that combine stoicism and lyricism.
From the 1970s onward, he began to produce many Pepe Romero models, which should be noted for their originality, as well as guitars with previously unused specifications, but the Segovia model, which he inherited from the first generation, stands out for its high level of perfection. Even as the modern guitar trend began to set new standards in the 1980s, Houser guitars never diminished in value as the ultimate model, and are still one of the highest priced brands on the market today.
In 1974, his son, Hauser III (1958- ), joined the workshop and worked with him for about 10 years. The third generation also continues to produce models with an extremely high degree of perfection that live up to the brand's name, while adding his own tastes to the essence of the second generation.

[Description]
Hermann Hauser II Segovia Model 1960 No. 672 is now in stock. This is a gem from the peak of Hermann Hauser II's career. In this period, Hermann Hauser II's guitars reached a very high level of artistry as instruments, and they have not lost their reputation as the ultimate guitars. This work is a true testament to that.

The entire body has many large and small scratches and dents due to the fact that it has been played a lot. The back and sides are also cracked and discolored. There is no history of repainting, and the original lacquer paint has been left as it was when shipped from the workshop. There are no cracks, modifications, or other major repairs, and there are no playing problems. The area from the soundhole to the bridge is slightly dented due to the tension of the strings over time, and the area from the bridge to the bottom is slightly wavy along the internal bars, but this is within the standard range of age-related changes. The functional quality of the full sustain with no ambiguity is wonderful. The rigidity of Hauser's distinctive sound creates a natural wave in melody, and in harmony, each note is clearly defined while sounding as a single note, a characteristic that is truly appropriate for playing classical harmonic music. The tone is calm and Germanic, but the variety of expression within the subtle changes is typical of this brand, and it is one of the most famous pieces of artistry of the 20th century.
The sound board is thinly crafted and the bars are also thin and delicate. The relationship between the thickness of the sound board and the shape and size of the bars has actually been tested in many variations since the time of the first generation, and it is very interesting to note that this may have something to do with the Spanish/German character of the setting. The back and sides are made of wild-grained Central and South American rosewood.