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RE: Conde Documentary
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RobF
Posts: 1611
Joined: Aug. 24 2017
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RE: Conde Documentary (in reply to RobJe)
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quote:
In the world of cosmetically perfect, superficially identical guitars, do we expect them to be made in this way? Aren’t the necks and heads produced to order by someone with CNC milling machine? Is there anyone out there who can make rosettes to order? Is there someone will inlay the rosettes on high quality soundboards and sand them down to a given thickness? Can someone supply pre-bent sides, produce packs of bracing wood cut to order, cut slots and drill holes in the head? If someone wants to make a kit guitar, there are kits available with varying degrees of prefabrication. Most makers don’t work that way, however. I don’t think I’m atypical in this respect, each of my guitars is fairly unique, although I use a couple of plantillas that are constantly evolving. Makers will tend to follow their hearts when it comes to this, from using relatively fixed, evolutionary models to being completely free form, and everywhere in between. I build my guitars alone from raw materials, nothing is bought pre-made. I cut every neck from boards that are 3-4” thick by 10-20” wide by 6-12’ long and carve them myself. My heads are slotted and drilled by me. I make my rosettes from scratch and inlay them myself. The tops, back and sides are all thicknessed and dimensioned by me. All wood parts are cut, dimensioned and worked from raw materials, kerfed liners, peonies, braces, everything. I bend my own sides. I do make up certain components in batches, however, mainly slog-work stuff like kerfed liners and peonies, sometimes necks, and I generally build anywhere from one to four guitars concurrently, with two to three being the sweet spot. I think most of the makers on here do the same or similar. I’m what I consider to be a slow builder, it takes me about three weeks to complete the woodwork on a guitar but it takes me over a month of additional piecemeal time for the French polishing. If I’m really motivated I can complete the woodwork in two weeks and the finish work in one. Lots of makers are faster than that. I don’t know any who would do kit work, I would rather do nothing before I did that, what would be the point? Put two or three competent makers together working cooperatively and they can make a lot of guitars. It tends to be families or small shops being run by one master that can pull that off for extended periods, however, which isn’t surprising.
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Date Sep. 14 2020 12:34:13
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Morante
Posts: 2179
Joined: Nov. 21 2010
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RE: Conde Documentary (in reply to RobJe)
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My first decent guitar was a Conde. I had just founded, with a friend, the Peña Flamenca de Irlanda del Norte (which still exists and has gone from strenght to strenght. We had to play every week and I needed a guitar. I called a friend in London who had spent time in Spain. He called Rafael Romero in Madrid (legendary cantaor de Jaen). Rafael said the best cheap flamenco guitars are the student models de Conde. I took my holidays in Madrid, armed with all the traveller´s cheques I could afford. In Gravina, Faustino began to offer me the student guitars, made in Pozuelo. I rejected the first 6 as badly made and eventually accepted number 7 as adequate. 15,000 ptas. At this point, Faustino brought out a media luna, firmado by himself. 35,000 ptas. This was a cañon as they say in Cádiz, beautifuly made, easy to play and witha great sound. But in those days there were no cajeros and I had no means of finding the extra money. So I had to buy the Pozuelo guitar. In reality it was quite good, but with constant use began to come apart. Once again I needed a guitar and decided to tour Andalucía, visiting all the guitarreros. That is how I ended up with my prized Gerundino, though it cost me 3 hours arguing with the maestro over a bric of Don Simon, one of the worst wines of España. It could have been a Faustino
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Date Sep. 14 2020 15:59:45
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RobF
Posts: 1611
Joined: Aug. 24 2017
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RE: Conde Documentary (in reply to Echi)
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When I visited Manuel Caseres, during the same timeframe, he brought me in the back and showed me three strings of soundhole cutouts from what he said was his time with Ramirez. It looked like they represented over a thousand guitars. There were three more similar sized strings back there, I assume some were from his time with Arcangel, but I didn’t ask. I estimated he’s had his hand in over a couple thousand guitars. I have pictures of all this, but I don’t want to post somebody’s back room on the internet without permission. I could probably count them, lol, in case I’m over-estimating. Each string was a little over a metre long, if I recall correctly, so maybe more like 1200-1500, instead of 2000. Ahhh, what the heck, I don’t know...lots.
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Date Sep. 14 2020 16:12:45
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