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Short sustain blanca
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mqbernardo
Posts: 47
Joined: Mar. 26 2012
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RE: Short sustain blanca (in reply to NorCalluthier)
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well, my last guitar was a blanca. i tried to do it by the book. light top, low top dome, parallel struts, no closing bars, spaced peones gluing the top to the rim, 1.8 mm cypress sides, no side struts, light 3 braces 2.2 mm back, light cedro neck. i did use geared tuners but the guitar ended up weighting 1250 grams overall. bridge was 6 mm high at the front, wings were 3 mm high, bridge weighted 12.5 grams. last week i had a local conservatory teacher trying that guitar (the only one i had available) and he complemented its "singing trebles and concert classical sound, with lots of sustain". go figure. the guitar does have a sweet character and doesn't´t sound too flamenco to me, but it was only my 2nd flamenca and i´m far from schooled in the subject. sustain is ok i guess. so, to your question, i have no idea. i´d suspect light construction, light sides, responsive back, low and light bridge (low impedance) would get me there.
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Date Dec. 28 2017 0:18:02
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estebanana
Posts: 9379
Joined: Oct. 16 2009
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RE: Short sustain blanca (in reply to NorCalluthier)
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Conde' design, in general just generally speaking, is in friction with the received wisdom of thin, thin, thin- and I know everyone thinks I hate them, I don't. They just look annoying because the company sello propio got out of control and they use weird ass colors on them. The orange color really is a 'sell 'O propio.. But have a good look at the bridges on good especially older Conde' work. The bridge can have a very high domed wing profile. And a very wide tie block. The bridge is muscular or robust compared to the concept of the ultra light bridge, which is also not exactly historical when looking at mid century work that is held as the iconic, or ' Ur Form' of flamenco. Santos, Barbero, de la Chica, and many others are not really hyper light bridges. I'm not saying this to be contrary, but there's something to the influence of the New non Spanish styles of building that have filtered into received wisdom of today. One of those tenets of if you will Post-Spanish school is the hyper light bridge. In my opinion based on direct observation and received wisdom of repairers who worked in the 50- and 60's - Conde' work often has thicker tops, by a margin of tenths of mm, yet slightly more robust. And there's a relationship to the typically long scales used on older ones to a more robust bridge and top. What I'm tilting at is that the quality we look at and call 'short sustain' is also relative to different systems of making, and subject to nuance according to the robustness of the design. The gracile path meaning the light and thin thin, thin, thinking can produce guitars that have considerable "sustain" and yet are fragile shells. I go on the idea that calming the overtone series to be less present produces ......anyway ........
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Date Dec. 29 2017 22:45:03
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Morante
Posts: 2199
Joined: Nov. 21 2010
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RE: Short sustain blanca (in reply to Echi)
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quote:
For sure better than a Barba and a Montero and a Gerundino which I compared it with. We have just compared 3 guitarras in the taller of Fernando Hermina. Oscar Lago, a good professional, played all three, while Fernando looked inside. One was a Conde from Felipe V, selected by top tocaores (one of whom was the sobrino de PDL) and bought second hand, other was a Mellero ( San Fernando), the guitar which El Niño de los Rizos took to U.S when he was contracted by Caracol, the third a Gerundino. The Conde was discarded as being sorda and poorly adjusted, the Mellero was considered a great guitar, being from 1979 with original palos de palo santo. It had great trebles: perhaps new strings would have helped the bordones. The Gerundino wiped out the Conde and was better overall than the Mellero. Opiniones of a professional tocaor and a professional guitarro. Fernando has on order one of these magnetic thickness measuring devices. When it arrives, we shall do a study of the construction of all three guitars. I would bet that very few guitarists look inside a guitar before buying it
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Date Dec. 30 2017 15:13:44
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Ricardo
Posts: 14880
Joined: Dec. 14 2004
From: Washington DC
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RE: Short sustain blanca (in reply to Echi)
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quote:
Gerardo as Pepe Habichuela or his brother Juan, play old Conde. Few in common with the Felipe V from 1993 on. Pepe sure, Gerardo no. He mainly used a 95 Felipe V and an Atocha 99 for most of his career. And those two guitars are what I was referring to. The 95 was used to record Calima and Andando Del Tiemp, Carmen Linares, etc, he started to retire it in 2006 or so in favor of the Atocha guitar. Now a days since his injury he uses more the Marvi guitar. Of course I know when he was young he used old Condes for his first two albums (not the greatest fidelity), and the bright orange one from Gravina for Jucal and Indio Gitano (these two had a great sound, though I suspect that guitar was not made by Faustino, ie it was outsourced as well). For the record I got to play his 95 and Atocha and the Marvi several times. The 95 is no different in anyway to my Felipe V condes. And for the record my 73 sobrinos is pitched at A, has the long straight parallel braces up to the sound hole, and pretty thick top, and is hard to distinguish from the Felipe V in terms of sound. The neck is a little different but that is all that is really noticeable, meaning the similarities out weigh the differences.
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Date Dec. 30 2017 22:04:04
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