My Grounds

The Classical Spanish School

started to form in Spain on the second half of the XIX'th century. It is the aggregate of skills, technology and knowledge required to build the classical guitar.

Antonio de Torres

1817 - 1892

summarized past experiences and formulated new standards in guitar construction, which superiority was so great and obvious that they promptly became the basis for descendants.

Torres did not train disciples. His work however established the foundation of the School.

Manuel Ramirez

1864 - 1916

was one of the most ambitious, efficient and influential successors of the Torres approach. Running the workshop with journeymen he trained, Ramirez explored the potential of Torres design, seeking for ways of optimization and development.

Number of important luthiers was trained in Manuel Ramirez workshop. He is referred as the founder of his own branch of the School.

Santos Hernandez,

1873 - 1943

Domingo Esteso

1882 - 1937

are the great luthiers who came out of the Ramirez workshop. Both of them made a significant contribution to the development of the guitar design within the framework of the basic principles.

Perhaps due to the upheavals of the first half of the XX'th century the School's development also was plunged into depression for some time. In the post-war years, the revolutionary experiments of Jose Ramirez III, Miguel Rodriguez and Ignacio Fleta were crowned with success. These new directions in the development of guitar design came to the fore and pushed aside the more conservative Manuel Ramirez School for a while. The disclosure of its potential however was far not complete. Nowadays, the descendants of Domingo Esteso, the Conde family, continue to work on the legacy of Manuel Ramirez School.

Timofey Tkach

b. 1966

started his luthier career in the late Soviet Union and soon realized that the approaches used by Soviet craftsmen were far removed from the Spanish tradition. Working separate from the world centers of guitar making, he bit-by-bit collected and comprehended information in order to formulate the main concepts of the School from scratch after years, as an integral technological system.



Guitar Making, Restoration & Research
Vladimir Druzhinin

Vladimir DruzhininAbout

Guitar Making, Restoration & Research

My name is Vladimir Druzhinin. Guitar construction is the craft of my dedication and passion.

I base my work upon the experience and achievements of the Classical Spanish School, which brings together the knowledge and skills necessary to reveal the sound of the wood in the instrument that we all continue to admire and explore.

What Customers SayTestimonial

  • Last week, I had the great pleasure to play in concert for the first time the 7-string cedar guitar made for me by the Russian luthier Vladimir Druzhinin. It is an exceptional instrument: powerful with an incredible sound and a great harmonic richness accentuated by the presence of the seventh string. The highs are very warm and round and I enjoy making it sing.

    The design of the instrument is very beautiful, very balanced. In order to adapt the instrument to my morphology and to offer a larger sound range, Vladimir chose a 66 cm scale length (instead of 65) and a slightly larger body. I had tuned the low seventh string to A, so I have four octaves, which allowed me to give the duet arrangements an even greater orchestral dimension.

    In short, this is the guitar I had been dreaming of for a long time, without thinking that the dream could ever come true. Thanks again to Vladimir, a talented luthier who deserves recognition.

    Benoît Roulland

    Duo Sostenuto, France

  • I have been playing Vladimir Druzhinin's instrument for 10 years. One of the most important qualities of his guitar for me is the balance of the sound in both the lower and upper positions of the fingerboard.

    Vladislav Domogatsky


  • Vladimir's spruce and cedar top guitars are in my hands almost every day! These guitars are my fellows for many concerts and trips, inseparable part of my life. The sound is excellent, with response at all frequencies: bass, medium and treble! Easy to play in case of a difficult composition. The shellac is high quality, strong and nice. There are more then forty guitars in my studio, a great collection acquired during my musical life. But Vladimir's guitars possess a separate selection from me.

    George Papathanasiou


  • This guitar is wonderful. When gently plucking the first string, you can feel that the neck is also slightly vibrating, indicating that the luthier could effectively distribute the vibration area of the guitar, so as to produce more sound colors. The bass is deep and powerful, and the appropriate extension of the treble makes the melody full of singing. The middle range is full and thick, which is very rare. It is worth mentioning that the guitar is exquisitely made. Whether it is the soundhole rosette, headstock, fingerboard, etc., all show the luthier's superb skills and elegant aesthetics.

    Chen Xiang



  • We are pleased to present our new article to a public. It opens a series of publications on the Spanish School of Guitar Making.


    The consistent reproduction of a previously achieved result is one of a luthier’s key goals. First and foremost, this applies to such basic properties of the instrument as the character and class of sound. The ability to objectively evaluate and reproduce the result is a precondition for developing and improving mastery.

    Our article aims to discuss the problem of reproducing the sound of an instrument and to formulate a general practical approach to solving it. We also define the basic notions and describe the criteria for evaluating the sound of the guitar.

  • We present the second in a planned series of texts devoted to the interpretation and analysis of some of the most important, in our opinion, subjects concerning the guitar building.


    This article presents a brief systematic review of the history of guitar development and provides the content, significance, and reasons for changes in its design at different historical stages. While stating the general conclusion about the classical guitar reaching its final evolutionary forms, the authors have discovered the possibility of creating a new variant of the symmetrical classical design relevant to the performance needs of modern players. An analysis of some aspects of sound formation in the guitar as well as a detailed description of the author's new design of the soundboard are provided in the second part of this article.

Get in TouchContact

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Please fill out the form on this section to place an order or inquiry. Or email/call me directly ( / +7-985-447-7685).

Each guitar leaving the workshop has the destiny of its own. Being the part of my life they go their way. I ask the owners of my guitars to get in touch with me. I'm glad to hear from you and to provide you with additional information on your instrument.