Manuel Caceres　[マヌエル・カセレス] Original model

Product Description

Neck:Cedro
Fingerboard:Ebony
Finish(Top):Lacquer
Finish(Back & Sides):Lacquer
Tuning Machines:GOTOH
String Height(1st):2.8mm
String Height(6th):3.9mm

[Maker Information]

Manuel Cáceres Pizarro was born in Badajoz, Spain, in 1947. In 1963, he joined the workshop of José Ramírez III, where he trained under the guidance of Paulino Bernabé, then workshop foreman. He eventually became responsible for making the brand's top-of-the-line Model 1A guitars, identified by his “MC” stamp. His instruments became particularly popular, and Ramírez guitars bearing the MC stamp remain highly sought after on the vintage market.

After leaving the Ramírez workshop in 1978, Cáceres established his own workshop. Around the same time, he began a close professional relationship with another great Madrid maker, Arcángel Fernández. This collaboration had a profound influence on his guitar making.

Following Fernández's retirement in 2011, Cáceres became widely regarded as his sole direct successor and one of the finest representatives of the traditional Madrid school of guitar making. He closed his workshop in 2018 and effectively retired, although he now accepts a very limited number of commissions. As a result, new instruments bearing his name have become exceptionally rare.

His guitars, particularly those made from the 2000s onward, possess the characteristic depth and expressive richness of the Madrid tradition. Yet their voice and articulation also reveal remarkable refinement, clarity and restraint, giving them an almost urban sophistication rarely associated with descriptions of Spanish guitars.

His personal style represents a natural fusion of the lyrical singing quality inherited from the Ramírez tradition and the exceptional tonal balance and clarity of Arcángel Fernández. These influences have matured into a distinctive musical identity entirely his own, earning him considerable recognition among discerning players and collectors.

Cáceres guitars appear with both his own original labels and, in some cases, labels reading “Para casa Arcángel Fernández,” under which certain instruments were delivered as products of the Arcángel workshop. The latter generally follow specifications supervised by Fernández. His own-label instruments, however, exhibit considerable variation in internal construction, headstock design, detailed specifications and label design, with each configuration offering its own distinctive tonal character.

[Instrument Information]

Manuel Cáceres – 2006, Original Label – Used

Cáceres employed several different label and headstock designs during this period. Rather than adhering strictly to a single standardized brand identity, he appears to have adapted the label to the preferences of individual dealers. His management of these variations was not always particularly systematic.

The internal construction of this guitar reveals that it is based on the Arcángel Fernández classical model. However, it is quite different from instruments delivered as official “Arcángel workshop” guitars. Here, Cáceres's own artistic identity is clearly expressed, resulting in a highly individual instrument worthy of one of Madrid's finest makers.

The soundboard bracing follows the classic Arcángel configuration. Two harmonic bars are positioned above and below the soundhole, on the neck and bridge sides respectively. A circular reinforcement plate surrounds the soundhole, covering the area beneath the rosette.

The lower soundboard features six fan braces. With one brace positioned along the centerline, three braces extend towards the treble side and two towards the bass side, arranged almost parallel to one another with very little angular divergence. Near the lower bout, two closing bars form an inverted V-shape, supporting the ends of the fan braces. At the bridge position, a thin reinforcement plate is fitted, with the same short dimension as the bridge but extending considerably further along its length, almost across the entire width of the soundboard.

The resonance is tuned to slightly below G#.

While retaining the robust structural philosophy characteristic of Arcángel Fernández, Cáceres employs a somewhat thinner soundboard that nevertheless maintains excellent stiffness and structural integrity. On this foundation, he develops an acoustic balance that is unmistakably his own.

The result is truly remarkable. The dense, concentrated tonal image associated with Arcángel Fernández combines naturally with the lyrical expressiveness of José Ramírez, particularly the rich, singing quality of the upper register. Cáceres refines these influences through his own sensibility, achieving a sophisticated elegance and a distinctly urban character that could only belong to him.

The tone is crisp, lustrous and beautifully defined, combining power with delicacy, depth with lightness, and expressive richness with refined articulation. Its responsiveness is excellent, with immediate attack and remarkable linearity under varying degrees of touch.

Although it is difficult to prescribe particular repertoire for an instrument, given the subjective nature of musical expression, this guitar is especially captivating when playing works from the late Romantic and Impressionist periods. Its transparent yet subtly complex resonance and expressive character reveal a distinctive quality closely associated with the instrument's sophisticated personality.

This is an outstanding example of Cáceres's artistic maturity during the 2000s, representing a particularly accomplished period in his career.

Condition and Specifications

There is no history of major repairs or structural modifications.

One detail worth noting: an internal patch reinforcement is present along the grain on the treble side of the fingerboard area of the soundboard. Like Arcángel Fernández, Cáceres routinely incorporated a slit in this area to preserve the soundboard's flexibility. It is likely that this original feature was once mistaken for a crack, resulting in the subsequent reinforcement.

The soundboard shows normal playing wear for an instrument of this age, particularly around the treble side of the fingerboard and soundhole, as well as below the bridge. These marks are generally fine and do not significantly detract from the overall appearance.

The back and sides show minor surface scratches from clothing friction, together with some finish wear in areas that come into contact with the player's chest during performance. These are all consistent with the instrument's age.

The neck, frets and other components affecting playability remain in good condition.

Neck Profile: Slim, relatively flat D-shape

String Height: 2.8 mm / 3.9 mm (1st / 6th string, 12th fret)

Remaining Saddle Height: Approximately 0.5–1.0 mm

Tuners: Gotoh “Lira” model, presumably fitted as a replacement at some point; currently functioning properly

The quality of the tonewoods is also particularly impressive. The materials were presumably obtained from, or shared with, the Arcángel workshop. The perfectly quarter-sawn Central American rosewood is especially noteworthy, contributing not only to the instrument's acoustic performance but also to its dignified and beautifully refined appearance.

An exceptionally appealing 2006 original-label Manuel Cáceres, embodying the finest traditions of the Madrid school while expressing the maker's own sophisticated and unmistakable musical identity.