Unlike the previously mentioned "Torres" copy—which was created through a collaboration between Gabrielle Lodi and the Hanson Workshop (led by Mr. Hanson Yao)—this reproduction of the historic Spanish masterpiece (the Santos Hernández model) was crafted solely by the Hanson team. It represents an independent attempt to recreate the legendary instrument, achieving a level of perfection that rivals even that of the "Torres" copy.
In reality, existing Santos Hernández guitars are now around a century old; the sound they produce today is "matured," shaped by the passage of a hundred years. Consequently, while one might wish to know what the instrument sounded like when it was first completed, such knowledge has remained purely a matter of speculation.
Many renowned individual luthiers have created Santos copies over the years, successfully capturing an atmosphere close to the original. However, it is inevitable that the personality of the maker—rather than the essence of the Santos itself—comes to the fore in these instruments.
Recreating a legendary instrument is far more complex than an amateur might imagine. It demands more than just tracing specifications—such as the structural design, the thickness of the wood panels, and the placement of the bracing. It requires an understanding of the master luthier’s specific techniques—such as the way they wielded their chisels—as well as their production processes and their intuitive sensibility regarding the wood itself. In a sense, the artisan undertaking the reproduction must be willing to completely reset the skills and habits cultivated throughout their own training—a process that can sometimes feel like a negation of their own established identity.
What makes the Hanson team’s "Santos copy" so remarkable is the vivid, authentic freshness of the sound—evoking exactly how a Santos Hernández guitar would have sounded when it was first completed a century ago. It is astonishing to find that the personality of the artisan who crafted the copy does not intrude upon the instrument at all.
I believe this is the result of a virtuous cycle born from the collaborative team approach; by working as a group rather than as individuals, the artisans were able to set aside their own personal stylistic quirks in favor of the instrument's true character.
This guitar is highly recommended for those who have previously dismissed such fine instruments due to their price, or for those who—despite their interest—viewed them as unattainable, "out-of-reach" guitars belonging to another world; I encourage you to pick one up and experience it for yourself.
〒101-0052 Suzuki Building 2F, 3-16 Kanda Ogawamachi, Chiyoda-ku, Tokyo 101-0052
Access
3-minute walk from Exit A-5 of Jimbocho Station on the Toei Mita Line, Shinjuku Line, and Tokyo Metro Hanzomon Line
5 minute walk from Ochanomizu Station on the JR Sobu Line/Chuo Line and Tokyo Metro Marunouchi Line
4 minute walk from Exit B-3 of Shin-Ochanomizu Station on the Tokyo Metro Chiyoda Line
Parking space: Coin parking available nearby