Neck:Mahogany
Fingerboard:Ebony
Finish(Top):Shellac
Finish(Back & Sides):Shellac
Tuning Machines:REISCHEL
String Height(1st):3.0mm
String Height(6th):4.0mm

Maker Information

Hermann Hauser II (1911–1988)

The Hauser name stands as the pinnacle of 20th-century German guitar making, a lineage that continues unbroken today into its fourth generation. Founded by Hermann Hauser I (1884–1952), the workshop has been crafting instruments for over a century in the finest tradition of one family, one master at a time.

Hauser I famously refined his guitars based on two historic instruments: Antonio de Torres owned by Miguel Llobet and Manuel Ramírez owned by Andrés Segovia. From these inspirations, he created what would later be known as the Segovia Model—a guitar often described as the “ultimate” concert instrument. This model marked a watershed moment in the history of lutherie, the most significant development since Torres’ own innovations, profoundly influencing both guitar performance and construction worldwide.

After completing four years of study at the Violin Making School in Mittenwald—a renowned German center for string instrument craftsmanship—Hauser II began working in his father’s workshop in 1930. The two collaborated closely for many years, though guitars were labeled under Hauser I’s name. Upon his father’s passing in 1952, Hauser II officially succeeded the brand, releasing his first instrument under his own label (No. 500). He remained highly productive until his retirement in 1983, building over 500 instruments of extraordinary refinement.

Like his father, Hauser II cultivated his artistic philosophy through interactions with many great players—including Segovia, Julian Bream, and Pepe Romero. While he inherited his father’s classical ideals, Hauser II brought a distinctly German sensibility to his instruments: precise, disciplined, and acoustically crystalline. Among his most celebrated works is the 1957 guitar used by Julian Bream, noted for its unparalleled clarity and tonal balance—a sound of stoic beauty and lyrical grace, unlike any other.

From the 1970s onward, Hauser II continued to innovate, producing the Pepe Romero Model and experimenting with new specifications to meet growing international demand. Yet the Segovia Model—carried forward from his father—remained the hallmark of his output, representing the highest level of classical guitar perfection. Even as modern guitar design evolved in the 1980s, Hauser instruments retained their prestige as the ultimate reference point and continue today to command the highest respect and value in the market.

In 1974, Hauser’s son, Hermann Hauser III (b. 1958), joined the workshop and collaborated with him for about a decade. Hauser III has since carried forward the family tradition, adding his own refined sensibility while upholding the legendary standards of the Hauser name.

Instrument Information

Hermann Hauser II – 1965 “Segovia Model” No.763

This is a 1965 Segovia Model by Hermann Hauser II—an exceptional example from the mid-period of his career. Having inherited and developed his father’s artistic vision after 1952, Hauser II spent the following decade perfecting the synthesis of Spanish tradition and German precision. This instrument represents a crucial point in that evolution, embodying the maturity and balance of Hauser’s work in the 1960s.

The guitar exhibits the hallmark Hauser balance, where every note is structured with architectural precision. Melodic lines connect seamlessly, harmonic textures unfold with perfect definition, and contrapuntal voices interact with clarity and musical logic. The combination of the high-density German spruce (from the family’s legendary stock) and the carefully calibrated string tension results in Hauser’s signature tone—firm, resonant, and noble. The sound is poised and dignified, showing the austere beauty that characterized his best instruments from this era—an unmistakable expression of German classical sound.

Although the guitar was re-finished with French polish (originally likely lacquer) not long after its construction, this restoration has not diminished its acoustic character. On the contrary, the subtle wood texture now lends the sound an added warmth and intimacy.

The internal bracing follows the 1937 Segovia Model by Hauser I, with refinements introduced by Hauser II. Two harmonic bars of differing shape are placed above the soundhole, with a reinforcement plate between them bearing Hauser’s handwritten signature and date. Below the soundhole, the harmonic bar is slightly arched at the center, its ends set closer to the neck. Reinforcement plates flank both sides of the soundhole, and the lower bout features seven symmetrical fan braces supported by two angled closing bars. A thin reinforcement plate lies beneath the bridge. The curved upper harmonic bar and the pointed, tall back braces are characteristic of Hauser II’s design. The main resonance is tuned around G–G#.

Condition is excellent for its age. The top shows moderate playwear—light scratches and nail marks mainly around the treble side and below the bridge—but no deep damage. The back and sides show minor scratches and wear consistent with age, but no cracks or major repairs. The neck has also been refinished with French polish and remains in excellent shape. Neck relief is straight, and playability is superb despite minor fingerboard wear in the first few frets.

Neck profile: slim D-shape.
String height: 1st – 3.0 mm / 6th – 4.0 mm (at 12th fret), with 0.5–1.0 mm saddle reserve.
Tuners: Reischel (gold-plated, replacing the original Landstorfer).
Weight: 1.53 kg.

A magnificent example representing the artistic and tonal summit of Hauser II’s work—elegant, precise, and timeless.

Performance video

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