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But the 1988 Antonio Ariza that Rob allowed me the privilege of buying from him is wonderful too. I get delight from it every day. So I have my dream guitar already. Although my dreams seem more traditional than yours :)
If we are talking electric, I'd have another Strandberg, this Japan Custom. I've had three including an 8 string, and they are wonderful. But I sold everything and have just one guitar now, and it's a Flamenco Blanca.
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How do you find the Kahler trem, Ricardo? They got a fair amount of criticism, killed sustain and a daft design etc. but I think that's a lot of sh*te, I used to have one and loved it.
How do you find the Kahler trem, Ricardo? They got a fair amount of criticism, killed sustain and a daft design etc. but I think that's a lot of sh*te, I used to have one and loved it.
I grew up with a Kramer Baretta, Floyd rose etc. Back in those years the problem was the patented nut luck which went BEHIND the nut toward the tuners on guitars with Kahler. So since they seem to have gotten around this problem these days, I have to say I was pleasantly surprised. VERY easy to use and keeps tune just as well, sustain is absolutely killer etc. Sustain is in the equipment and maybe a little in the wood used. The thing I took a long time to get used to (coming from Kramer single pick-up) is the pick switching mid song. It is a little falseta and dance you have to practice as much as the notes themselves.
I consider myself very lucky that I got my hands on one of these:
The Spanish guitar has hardly changed (only evolucionada) since Torres. It is difficult to adjust and repair. Why is there no innovation as in the electric guitar?
I consider myself very lucky that I got my hands on one of these:
The Spanish guitar has hardly changed (only evolucionada) since Torres. It is difficult to adjust and repair. Why is there no innovation as in the electric guitar?
I think there’s been an enormous amount of innovation in the realm of classical guitars, maybe less so for the Spanish guitar, per se, and then again even less for the flamenco guitar. A lot of concepts, such as the double top, lattice bracing, arm-rest bevels, adjustable necks, and the use of alternate materials like carbon fibre and nomex, all come out of nylon stringed guitar development. Other innovations, like adjustable truss rods, multi scale fanned frets, raised necks, bolt on necks, and soundports may or may not have originated in the classical world, but have been adopted by classical makers.
The problem with bringing innovation to the flamenco guitar lies with the players themselves and the hold the traditional Spanish makers have on the craft in Spain, IMO. For example, a guitar incorporating any of the concepts I listed above warrants an immediate disqualification from the competition in Granada. And most flamenco players show little interest in guitars that stray too far from the traditional. So, faced with that level of protectionism, it’s no surprise that the most insular subset of the genre is going to be highly resistant to change. For instance, a lattice braced guitar can work really well for flamenco. Try selling one, however. Even if it’s the best sounding and playing guitar in the room, it’s not going to be as easy to move as a fan braced model.
670mm, abeto, arce rizado, mastil separable (estile Taylor), tornillo de titanio, pallilos tradicional de ebony, body shape Gerundino.
Yours?
It’s funny how so many of the responses are for electric guitars. I’m no different, when I think of a dream guitar it would be either a really nice playing ‘57 gold top or a ‘59 Sunburst Les Paul. It’s not about the money, they were desirable and expensive even when I was a kid, but at least they were attainable. Maybe a pre-war Martin OM or D-28 would also be in the dream category. Or an old Santos, I’ll take one of them, too….Barbero? Sure, why not?
I don’t really have any dream guitars that aren’t vintage, I guess.
I currently own 2 good Conde guitars, a Ramirez, a Gerundino, a Pepe Bellido and less interesting stuff. I am happy with what I have but what is still appealing to me the most are a Santos, an old Conde, an Arcangel.
I consider myself very lucky that I got my hands on one of these:
The Spanish guitar has hardly changed (only evolucionada) since Torres. It is difficult to adjust and repair. Why is there no innovation as in the electric guitar?
The aesthetic of the flamenco guitar is mainly for accompanying the cante. This aesthetic was established, primarily, by melchor, Niño Ricardo, Morao, etc. At the time, M. Ramirez had previously hit on something and his apprentices delivered their versions, that became “standard”, in stark contrast to J. Ramirez Tablao guitar. This thing was carried on by Esteso’s nephew and so Sobrinos de Esteso is the “standard” instrument, with very little innovation since M. Ramirez, that gets recorded along side great singers, most often (Conde is very similar to Esteso). Much of this info is from Ramirez III who, starting with the massive or radical innovation of Cedar top, admits the problems with flamenco guitarists not accepting most alterations to what Melchor or Ricardo were successfully using. He said anything he tried resulted in “no good” or “Buena guitarra pero, no es flamenco”. So he stuck with his great Uncle’s ideas mainly (admitting his Dad was stubborn and tried to keep the Tablao guitar going in vain).
As a comparison to electric guitar, my preferred genre being “Rock”. It is interesting to notice the prime guitar heroes tended to do personal alterations. Van Halen, Yngwie, Gilbert…would take some sort of ‘Strat” style body or general concept, and start replacing parts, removing pickups, scallop the neck, etc. In Ynqwie’s case, it was probably an influence of Blackmore. But underlying it all tends to be either a Gibson Les Paul idea, or a fender Strat idea, Frankenstein style. So I see a parallel aesthetic here….it is either the M. Ramirez style or the Conde Style that carries on. Then there came PRS…which is like Reyes or something that has the same elements but some little detail that sets it apart and now you have to pay for it and for no special reason (other than your hero started using it, separate from the pack), it takes on its own aesthetic, so now there are 3 styles of guitar.
In terms of replacement parts for a flamenco, this is a problem because it is not a block of cheap wood with magnets. It is a real acoustic living creature that needs to have all the parts working together….change one thing and it all is different. At least we can change golpeadores, bones/nuts, and tuners/pegs to keep it going way beyond human life spans.
I am happy with what I have but what is still appealing to me the most are a Santos, an old Conde, an Arcangel.
José Luis Postigo has a couple of Santos in his shop. Don´t know if they are for sale but my experience with Postigo is that he will sell anything if the price is right. (I didn´t dare to ask the price )
@ Morante thanks but I presume they are collector’s items pricewise… I could never afford one.
quote:
The Spanish guitar has hardly changed (only evolucionada) since Torres
Well, I think there was an evolution in technique, in the genre of flamenco guitar music and in the flamenco guitar itself in order to adapt to the new standards.
Maybe ten years or so ago I wanted to buy an electric and asked my buddy who is a pro and owns a lot of them what he thought. He said get a PRS and you won't be disappointed. I bought a custom 24 and it is a fine instrument. I was mostly a strat guy when I was gigging and still have a '75 and a mexican one. I used to have a '65 but let it go. I've also owned a Les Paul custom, an alembic strat with a graphite neck, a 335, and a Charvel. No comparison, the PRS beats them all.
quote:
ORIGINAL: Ricardo
Then there came PRS…which is like Reyes or something that has the same elements but some little detail that sets it apart and now you have to pay for it and for no special reason (other than your hero started using it, separate from the pack), it takes on its own aesthetic, so now there are 3 styles of guitar.
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