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RE: flamenco body styles and bracing-where to start
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estebanana
Posts: 9368
Joined: Oct. 16 2009
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RE: flamenco body styles and bracing... (in reply to estebanana)
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Oh gee sorry if I neglected to take some point into account, but when it comes to making nuanced points I usually feel like my ideas are the ones getting ignored. I read it all, but that does not mean I have to address every detail. I fully understand the difference between literally saying "A guitar is an air pump" and taking that at face value. I get that that is not what you're saying. But what you're actually doing is using the concept and words 'guitar is an air pump' and making them into a euphemism for something else. As a euphemism what does it really mean? Is it possible to drop the euphemistic and anecdotal jargon and make the language more precise? That's all I'm getting at, paring back the language to say is that really what it does? I'm sorry but I'm not willing to accept a term just because it's 'tradition' or everyone uses it if it seems to be inaccurate. That not being intransigent or un cooperative, that's just critical thinking. And I'm not saying this out of aggressiveness, I'm just sticking to my points and also making some references to string articles, and I fully admit I read Somogyi's writings and have learned from them. But there's my deal, there's heck of a lot of garbage language and ideas about guitar making out there and I reserve the right to think critically about them and cut through bullshiet to what I think is salient. It basically means I kick about 80% of it out of my way- and I don't know any good guitar makers, writers, photographers, painters, film makers, sculptors, auto mechanics etc. who don't do the same. It's because as a you grow you learn to edit faster and you learn quicker which things are important and what is just fodder to cast off. I would expect in any field it's pretty much the same. Only I have a particular fault, and that is my fascination with precise language and games you can play with it, which seems to drive others up the wall. So where some see layers of nuance others just see stuff they have to push out of the way to go forward. And I'm hardly writing this on the verge of tears or while throwing a tantrum, I'm just expressing my bad self. See Andy I'm not being a *diiick, I just like writing.
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https://www.stephenfaulkguitars.com
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REPORT THIS POST AS INAPPROPRIATE |
Date Jun. 29 2011 17:37:10
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estebanana
Posts: 9368
Joined: Oct. 16 2009
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RE: flamenco body styles and bracing... (in reply to estebanana)
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See why one of us selling guitar for 3300.00 to 4800.00 is a steal? Flamencos are made in two basic ways, one is with top you arch in the solera and the other is braced more or less flat and then pressed into a solera and the glue blocks hold it there then you arch the bottom of the bridge and suck the top up into it. There are lots of minor personal variations on those main ways of doing it. Reyes followed Santos and Barbero to get started and he's not the only one who makes guitars the way he makes them. He's just one of the most famous of them. The Torres idea was to push the top into a solera and press the braces into the top when glued to create a laminated arch held by the braces. later Hauser got some credit for developing this way of bracing flat and then springing the bridge into the top. He may or may not have invented it, I don't know. Some people say he came up with this as a response to seeing Santos guitars and eventually making a hybrid of a Spanish Torres guitar with the Viennese flat topped guitars he already made. It's hard to say who did what first, but if you had to break it down there's the Torres model/concept and lots of minor variations on it, and one major variation which is what Hauser did. Everything is basically playing off of Torres ideas one way or another. The complete "official" taxonomy is tricky because everyone wants to get their teachers or their idols in the history book pie. These guys who came earlier were just trying to make a living and experiment, they were not trying to give things Linnean names which fit neatly into kingdom, phylum, class, genius species.......so the better question might be to ask : how many ways can you build a flamenco guitar ? and not get into naming particular style or building method. People will talk about the geometry and the different was you can angle the neck, but it's just that; different neck angles have some bearing on the way the guitar performs. But many different makers a the main regions where guitar developed in Spain tried different neck angles. You find it in Madrid and in the South just because someone works with the neck angles does not make it a separate "school". And so it goes, it's all mainly variations on Torres and the taxonomic drifts in to different schools are traditionally regional. Granada has it's thing Madrid _had_ it's thing, Sevilla has Barba and there was Gerundino, et al. All these things were regional differences and some are still around. A certain region may sustain a continuity of thought about details and style, but in the end it's all still basically Torres. You can choose to be a taxonomic "lumper", or a taxonomic "splitter". A lumper would be like I think, it's all coming from a main source and the family tree is tall and narrow. A splitter would want to parse out each little invention and name it and have a big bushy tree. I prefer guitar making lineages ordered to look like tall straight spruce trees.
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https://www.stephenfaulkguitars.com
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REPORT THIS POST AS INAPPROPRIATE |
Date Jul. 1 2011 22:48:36
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