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I originally posted this link in a thread in the General Section but it pretty quickly got buried in an ethnomusicology discussion so I figured maybe it would be better to repost it here in the Lutherie section, where it belongs. Also, HR pointed out that I’ve been pretty lean on posting my stuff recently, and he’s right, so here it is…
This is a recent recording of a guitar I made a couple of years ago, as shown on a Spanish television talent show. It’s mixed for TV but it does give an idea of how one of my guitar’s sounds. The guitar has a Canadian Cedar top and Honduran Mahogany back, sides, and neck (clear shellac finish - no tint). The plantilla is my own and the bracing was loosely based on the 1934 Santos bracing from the Merrin plans. This is the only time I’ve used that particular bracing configuration, it’s a bit of an outlier from what’s normally seen (if there is such a thing as ‘normal’ when it comes to bracing). I chose this configuration as I thought it would work well with the cedar/mahogany combination. It did, and the guitar had a good balance between resonant and dry, with a leaning more towards the dry side.
The judges seem to like the guitar, they’re buzzing it all over the place…no wait, maybe it’s the singer they’re buzzing…
PS. One of the reasons I’ve been lean about posting is I’ve had a lot of health issues over the past year and have spent most of my workshop time restoring, repairing and setting up instruments of all types, with lots of work on electrics and steel strings. I’ve only got one new flamenco on the go at the moment and I’ve also decided that I’m now officially semi-retired so I think I’ll only do this for personal satisfaction moving forward, maybe only a couple a year. I love building but I really don’t enjoy the business side of it, so there’s a bit of an element of “good riddance” to this, too. In light of that, I probably won’t have too much to say in this section moving forward.
RE: Cedar Mahogany based on 1934 Santos (in reply to RobF)
Rob, That’s pretty cool, when the performer chooses your guitar to play in front of the world. Says a lot about playability ease and sound quality.
Any chance you could take a quick snap of the ‘34 Santos bracing and post here? I’m not familiar with the Merrin drawing, is it a Book?
Good to hear you are on the forward side of your health issues. It’s been quite the **** show last couple of years, two for me since the moose crushed my foot, I can do 4-6 hours on my feet in the shop if I’m careful. Learning to work in a chair/stool is my next challenge.
Been busy with a non guitar positive cash flow ;) project in the shop but it goes to paint today then I’m back at it: 2 commissions and the others I’ve been working on.
My offer to come up to AK for a few weeks still stands, you know, now that you are semi retired ;)
HR
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I prefer my flamenco guitar spicy, doesn't have to be fast, should have some meat on the bones, can be raw or well done, as long as it doesn't sound like it's turning green on an elevator floor.
RE: Cedar Mahogany based on 1934 Santos (in reply to ernandez R)
Hi HR,
Here’s a photo I took when gluing the neck to the top. It’s obscure enough not to step on any toes but there should be enough detail there to give you an idea as to why I said the pattern is a little bit unusual. The bridge patch would be my addition, as well as the treatment above the fans is my own (I did say “loosely” based, lol).
I actually struggled a bit when trying to decide which way to move forward in bracing the guitar and this pattern seemed to resonate with me at the time, so I gave it a shot.
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RE: Cedar Mahogany based on 1934 Santos (in reply to RobF)
quote:
PS. One of the reasons I’ve been lean about posting is I’ve had a lot of health issues over the past year and have spent most of my workshop time restoring, repairing and setting up instruments of all types, with lots of work on electrics and steel strings. I’ve only got one new flamenco on the go at the moment and I’ve also decided that I’m now officially semi-retired so I think I’ll only do this for personal satisfaction moving forward, maybe only a couple a year. I love building but I really don’t enjoy the business side of it, so there’s a bit of an element of “good riddance” to this, too. In light of that, I probably won’t have too much to say in this section moving forward.
Well Rob if you are retired and not depending on it for sole income then you become the Soup Nazi from Seinfeld. Yeah hi, I’ll take one Negra please. Sure! So I have one cypress to go. Now Did you want spruce or cedar on that ? Oh and I super sized that scale length for ya. No charge!
Anyway, you, HR, Tom, and me all in the health woes building club!
Posts: 1674
Joined: Jan. 29 2012
From: Seattle, Washington, USA
RE: Cedar Mahogany based on 1934 Santos (in reply to RobF)
Very nice sounding guitar, Rob. Interesting how quickly two of the judges made up their minds. It is also interesting to consider the difference in the demands that are made of guitars today compared with the demands of guitars in 1934.
I hope your health is better now. Oh, how I empathize with you about the business side of guitar making. Anyway, what could be more fun than critiquing other people's posts? So you should stay active on the Foro.
RE: Cedar Mahogany based on 1934 Santos (in reply to RobF)
For completeness…
Last week was the season’s final and Jihan and David were fortunate enough to participate.
They weren’t as successful this time around, with the judging basically split between the men liking the performance and the women, especially the opera singer, not so much. The after-discussion was carried out in true Foro Flamenco fashion, starting out quite civil but quickly descending into chaos with the two camps shouting their opinions across to each other. Antonio Canales outdid everyone by turning and presenting his opinion directly to the audience and the host finally called for decorum. I wish I understood the discussion better, as my command of Spanish is quite limited, but I couldn’t help but feel the ‘against’ camp could have been a touch more diplomatic in how their views were presented, although I guess it makes for good television.
Still, I felt for Jihan, as it couldn’t have been easy taking such direct criticism on national television, especially with one’s parents sitting in the audience. She handled the situation with poise and grace, however, and was able to direct the discussion back into positive territory. Ultimately, I think her comportment during the after-discussion worked in her favour and I have a lot of respect for how she carried herself. She may be quite diminutive physically, but I think she showed a lot of heart, and I think she can take solace in that greats like José Mercé and Antonio Canales were pleased with what they had heard.
In closing, I watched the whole episode and I thought I’d also include the following wonderful performance by Carmela de Jerez. It was great!
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