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estebanana -> RE: Luthier's first flamenco guitar vs. production model (May 19 2021 1:36:18)
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quote:
clearer description of the doming.
I like the Reyes plan but my suggestion goes for the Santos plan drafted by David Merrin or for the Barbero plan.
Echi,
Can you tell me where to get a copy of the Santos drawn by Merrin? And why do you like this one in particular?
And the Barbero plan, do you mean the one I mentioned drawn by Brune from GAL or another?
Thanx,
Don’t you think this is a bit hasty? If you drew a plan from an actual flamenco guitar, or followed one drawn by someone else you’d put yourself in danger of actually building one.
I’ve mentioned this before but it can’t be repeated enough-
The great drawing of the Barbero by Brune’ is a bit larger in plantilla, but virtually identical to Keni Parkers 1920 Santos in terms of bracing pattern.
Gene Clark had the back off of the Santos in 1997, I saw it several times in that state while he added a slightly wider back strip as a remedy for some lengthwise cracking in the center of the back. At the time I had not come to the conclusion they were similar because I did not have that issue of the GAL publication in which Brune’ published the Barbero plan, but later put the two together from a partial photo from the interior of the Santos. I don’t think anyone else would have known this because Gene, Keni and myself are the only ones who saw the 1920 Santos with the back taken off. (Notwithstanding the idea that everyone who was interested in Barbero and Santos knew that Marcelo was intimate with Santos’ work, but my latter day observation sealed a part of the story for me from things I could personally reference.)
The Barbero 1951 plan was published in 1998, but I didn’t get to making a comparison until much later around 2014 when I had two GAL copies out for study. One was the issue with the Barbero - AL #55 1998 and the other was AL #65 2001with the profile of Gene Clark. This supplement has a photo of the 1920 Santos on the cover. I brought six of so GAL publications to Japan in my shop library as references and to remember certain people written about in those editions. By the chance that these two were being out together, plus my memory of the 1920 Santos I investigated the similarities between the 51’ Barbero plan and photos of the Santos. They line up and I firmly think Barbero got his bracing by direct observations of unfinished Santos guitars from possibly earlier in Santos career.
My conclusion is that Barbero used Santos’ ribs, but he added extra spicy sauce and that’s why his guitars are so good. Texas will disagree, but they don’t know diddley squat about sauce.
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