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Product Description

Neck：Cedoro
Fingerboard：Ebony
Finish：oil finish
Tuning Machine：RODGERS
String height：1string　3.2mm／6string　4.2mm

【Profile】
Kevin Aram was born in the UK in 1949. He began his career as a restorer and repairer of guitars, which allowed him to closely examine the construction of legendary instruments by makers such as M. Ramírez, D. Esteso, Hermann Hauser I, Arcángel Fernández, and José Luis Romanillos. These experiences had a profound influence on his approach to guitar making.

Since relocating his workshop to North Devon, England in 1991, Aram has focused exclusively on guitars inspired by Torres and Hauser. Initially, he used traditional shellac finishes, but later switched to an oil finish—an unusual choice for high-end classical guitars. This oil finish, applied entirely by hand, highlights the natural texture of the wood and produces a warm, organic, and responsive tone characterized by its clarity and richness.

Aram’s recent guitars incorporate a bracing design originally conceived by Jeffrey Elliott, which aligns closely with the structural concepts that Romanillos favored and which deeply inspired Aram early in his career. His guitars are known not for ornate decoration but for their expressive acoustic qualities. Aram believes that the character of a guitar is defined by its ability to convey musical expression, and his instruments reflect a disciplined pursuit of perfect synergy with the player’s touch.

Aram is also known for having built instruments for Julian Bream, who was famous for recognizing emerging talent in the field of guitar making. In the late 1980s, Bream performed and recorded with two Aram guitars—"La Cancion" (1986) and "Myrtle" (1988)—cementing Aram’s reputation among classical guitar enthusiasts.

【Description】
This 2025 Kevin Aram "JUDEE" model, made in tribute to the Julian Bream style, is a nearly unplayed, used instrument in mint condition. It stands as a remarkable example of Aram’s mature work and commitment to traditional design rooted in the Torres school.

The top features a custom bracing pattern inspired by a design from Jeffrey Elliott, with some modifications by Aram himself. There are two harmonic bars above the soundhole (towards the neck) and one below (towards the bridge). Each of the bars adjacent to the soundhole has small rectangular cutouts, through which several of the braces pass. The primary fan bracing consists of seven symmetrical braces. The outermost two on both treble and bass sides extend through the lower harmonic bar openings. Near their ends, each connects closely—though not physically—to two additional parallel braces that run up through the cutouts of the upper harmonic bar. These terminate just above the soundhole.

The seven fan braces extend nearly to the bottom of the soundboard. There are no closing bars or bridge reinforcement plates. This configuration is reminiscent of Romanillos' Plan 1 bracing (as outlined in Making a Spanish Guitar) and echoes Hauser I’s experimental 1929 design. Notably, Aram’s use of upper harmonic bar cutouts differs from these earlier models: the parallel braces do not reach the upper block and the highest bar has no cutouts at all. Also, while Romanillos and Hauser aligned the parallel braces with the grain of the top, Aram’s braces follow the lines of the fan braces.

The body resonance is tuned between F# and G.

This bracing achieves a reinterpretation of Hauser- and Romanillos-style tone, fused with Aram’s own acoustic ideals. The balance across all strings is superb, offering both even projection and organic interaction among notes. Whether in chords or polyphonic textures, the instrument maintains a remarkable sense of clarity and harmonic unity. Its plucked response and vocal, resonant articulation recall Romanillos’ work, yet with an added refinement and density of tone. The oil finish contributes a velvety softness to the sound, blending antique charm with fresh clarity.

This is a guitar that exemplifies the pursuit of classical ideals, far removed from modern trends—an instrument of rare purity and presence.

Condition is near flawless, with no visible marks. The choice of tonewoods is characteristically refined, with meticulous craftsmanship throughout. The contrast between birds-eye maple center inlay and Indian rosewood back and sides is particularly striking. The Hauser-style rosette and the tactile oil finish enhance the visual and sensory experience.

The neck has a very slight forward relief, within standard parameters. Neck shape is a medium D-profile. String height is 3.2 mm on the first string and 4.2 mm on the sixth string at the 12th fret, with about 1.0–1.5 mm of saddle height remaining. High-end Rodgers tuners are installed. The guitar weighs 1.34 kg.