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ORIGINAL: Tom Blackshear

Now back to the 68 Conde tutorial with an insert of RE Brune's 1967 Conde that is quite different in its pattern from the '68 that I'm working with. The differences are very interesting.

http://www.rebrune.com/1967-faustino-conde/

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The tie block is the most unique thing I think about these guitars, I have not seen that short embedded style on any other makers (the white cap boarder doesnt' extend as far out beyond the strings width as the bone saddle slot does, but has left over wood instead hanging off the sides).

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never covet something I can't afford

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ORIGINAL: RobJe

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The tie block is the most unique thing I think about these guitars, I have not seen that short embedded style on any other makers (the white cap boarder doesnt' extend as far out beyond the strings width as the bone saddle slot does, but has left over wood instead hanging off the sides).

I agree. I grew up in a period when everyone who was anything had a guitar like this.

Fleta has something similar.

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ORIGINAL: RobJe

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The tie block is the most unique thing I think about these guitars, I have not seen that short embedded style on any other makers (the white cap boarder doesnt' extend as far out beyond the strings width as the bone saddle slot does, but has left over wood instead hanging off the sides).


I agree. I grew up in a period when everyone who was anything had a guitar like this.

Fleta has something similar.


I remember seeing the fleta design, and yeah it was unique too. Brune schooled me privately on this issue...the Garcia in his collection has the same type of design, and he said others in madrid too long before Conde started doing it. Not so unique after all, but I still like it and wish modern builders would bring it back.

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ORIGINAL: eccullen

Ive wondered about the "vowel tone" that Tom B has referred to many times.
I came across this interview with Matthias Dammann:

http://hajos-kontrapunkte.blogspot.ie/2011/03/matthias-damann-luthier-guitarist-and.html

Matthias:
The central point for me is the aural experience of my own playing . My guitar studies, which I have concluded in Frankfurt, were in every respect very intense. During this period basic features of my playing technique and the associated sound conceptions were substantially engraved.

My personal ideal of sound is characterized by a very strong fundamental resonance. If you take for example a harpsichord. If you play it, you will notice that bass notes have very strong harmonics whereas the basic tone is in comparison relatively small. In contrast the piano has a much more fundamental resonance.

When we look at the guitar, the relation between the fundamental resonance and the harmonics varies from one guitar to another. An instrument tuned to a deep fundamental resonance will not only be defined by a strong bass. The deep fundamental tuning will be noticed also in the high registers. This means that also an instrument with a weak bass can be stronger in the fundamental resonance than an instrument with a strong bass register but whose sound is thin and nasal.

Stringed instruments are valued according to similar criteria. In use is the formant theory, which uses the complex tonal sound of vocals in order to classify an instrument. An instrument can sound like: "U", "O", "A", "E" and "I". With the tone color of the vocal a judgement is associated. Instruments, which sound after “E” or “I”, have a nasal character and will be set aside. Instruments, which sound after “O” or “A”, will be preferred. Instruments, which sound after “U”, sound dark and musty and will not be regarded as good instruments.

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Ive wondered about the "vowel tone" that Tom B has referred to many times. I came across this interview with Matthias Dammann: http://hajos-kontrapunkte.blogspot.ie/2011/03/matthias-damann-luthier-guitarist-and.html Matthi

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Unfortunately, I haven't found much on the vowel tone subject. I find it fascinating and surprised most searches lead back to Tom.