[Deleted]

Costs are rising and times are tough.
Please consider a donation to keep this
place going.

Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.

This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.

We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.

[Deleted]

You are logged in as Guest

Users viewing this topic: none

Printable Version

All Forums >>Discussions >>Product Reviews >>

Page: [1] 2 > >>

Message

<< Newer Topic Older Topic >>

Guest

[Deleted]

[Deleted by Admins]

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 1 2011 16:38:38

Richard Jernigan

Posts: 3430
Joined: Jan. 20 2004
From: Austin, Texas USA

RE: Arcangel (in reply to Guest)

I bought my first guitar in Paracho when I was 17 years old. I paid the peso equivalent of $24. It was the loudest one in the shop. The shop also sold office furniture and paint.

Being a 17-year old twit who knew nothing about guitars, still I felt I had to make some remark. I complimented Ramon Zalapa, the shop owner on what a fine guitar it was.

He pushed back his straw hat. A broad smile creased his Indian features, showing a gold tooth. He replied, "Pues, todos no salen igual."

My first lesson in guitar buying.

RNJ

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 1 2011 16:51:06

Ramon Amira

Posts: 1025
Joined: Oct. 14 2009
From: New York City

RE: Arcangel (in reply to Guest)

No guitar is worth twenty thousand, unless maybe it's made by God. That is to say it isn't worth twenty thousand simply for it's sound, because for five thousand you can easily get a world class guitar.

Some people are willing to pay that much for its historical value. Arcangel Fernandez is a legendary luthier, so you get a piece of flamenco tradition and history, along with a great sounding guitar.

But from a standpoint of pure sound, there is no end of great sounding flamenco guitars made by highly talented luthiers, that will be more or less on the same level as a Fernandez. And sometimes it's a matter of taste and any given player's preferences when it comes to sound.

Ramon

_____________________________

Classical and flamenco guitars from Spain Ramon Amira Guitars

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 2 2011 20:58:19

Shawn Brock

Posts: 271
Joined: Sep. 19 2011
From: Louisville KY

RE: Arcangel (in reply to Guest)

I must admit that I haven't had the pleasure of trying out an Arcangel Fernandez yet. I had the same feeling with the first Reyes I played though. Somehow I built the guitar up in my mind and had these high expectations which no instrument could ever meet. Maybe the same happened for you?

I'm always guilty of building up instruments in my mind, at least the ones I have never owned. I always think that out there somewhere is this great guitar which will be as loud as a stack when the truth is that such an acoustic guitar can never be made... I also had the same experience the first time I played a Smallman. I thought that the volume would just blow me away, it was loud alright, but it didn't blow me away, and I'm sure I have played a few conventional classicals which had as much volume and a lot better tone...

That's the problem I have with the large price tag... As players we tend to think that a $20000 guitar must be 3 times louder and sweeter than a $5000 guitar, but it isn't... Most of us "normal players" could never afford, or would never want to pay $20000 for a guitar, that's where the collectors come in. Nothing is quite like a historic guitar, but if you blindfold a player and make him play 10 guitars, (3 historical and 7 new from good makers), he probably can't pick out $15000 worth of difference. I have my old Ramirez, and that's about all I have in the way of guitar history. Its a great guitar, but I have played better guitars for less money.

My first steel string of note was a Taylor 510 which had belonged to my first guitar teacher. At the age of 9 I remember trying to get him to sell me that guitar. Something about it struck a chord with me and I never got over it. When I was 16 he sold it to me. He stopped playing because of some hand problems and wanted me to have the guitar. I went on to own some great steel strings of note, I even had a 1938 Martin HD28 at one point, but no guitar sounded like that old Taylor. After years of buying, selling and trading I only kept 1 steel string and that is the Taylor. To this day I can't find a guitar which compares with it. How much of that is the greatness of the guitar, and how much is just my mind is another question. Still it is a great instrument and I won't sell it for no amount of money. Now if I could just be that happy with a flamenco guitar... Guess I'll keep buying and selling until the day...

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 2 2011 21:27:36

HolyEvil

Posts: 1240
Joined: Nov. 6 2008
From: Sydney, Australia

RE: Arcangel (in reply to Guest)

quote:

ORIGINAL: nealf

So guys totally out of the blue I got a chance to play an Arcangel Fernandez blanca .... I was expecting to be blown away to be astounded ... my expectations were so high but when I played the guitar I was dissapointed ..... don't get me wrong it was an excellent guitar, setup was perfect, low across entire fingerboard, easy to play and a very clean sound, not raspy at all yet still very flamenco. The trebles were warm and the basses nice, overall an excellent guitar but why are people paying $20K++ for them???

If I compare it to Barba then I have to say that Barba is 99.9% as good if not better than Arcangel.

I came away from this experience laughing because for me Arcangel always was the holy grail .... a guitar I lusted after .... but I learnt an important lesson ... that a good guitar is a good guitar and the ones selling for $20K+ are not neccessarily any better than the ones selling for less.

no guitar is worth 20k.. can easily get 4 other just as great sounding guitars that all has different characteristic from other good luthiers.
Only time to pay that price is if the guitar has a special significance to u..

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 2 2011 22:07:37

Guest

[Deleted] (in reply to Guest)

[Deleted by Admins]

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 2 2011 22:39:12

aarongreen

Posts: 367
Joined: Jan. 16 2004

RE: Arcangel (in reply to Guest)

I've heard that Arcangel can be somewhat inconsistent. However I have one, from 1962 that is hands down one of the alltime best blancas I've seen from Spain. I put it right up against the Sabicas Barbero in terms of quality of sound and quantity of sound. I had them both side by side and was hard pressed to say which I liked better. I guess I'd rather have both. The 62 Arcangel is also mint and looks like it was made last week. I am not sure how it survived so unscathed but I can understand his rep after seeing this guitar. Its for sale and it's pricey but thats what you get for vintage, historically significant and collectible guitars. This one has it all, it's a real players guitar and it's a real collectors guitar. If thats important to you and you got the bucks, then great. If not then flamenco players are among the most fortunate guitarists around as there are many excellent builders who sell guitars for prices that seem unbelievably low (to me) for the amount of effort and skill it takes to build a professional level guitar.

Barba is a great builder but the two are apples and oranges in terms of the kind of sound they produce. This Arcangel sounds like a Sabicas album and the Barbas I've seen are not like that at all. I have a client with one, I worked on the guitar a few years ago and it was very impressive. It was big, loud and had a shiny set of huevos for sure. But it is not capable of the kind of tonal range this Fernandez has.

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 15 2011 16:17:33

keith

Posts: 1108
Joined: Sep. 29 2009
From: Back in Boston

RE: Arcangel (in reply to Guest)

A few weeks ago I was hanging with Aaron at his shop and he let me play the Arcangel he has. The phrase, monster guitar, would not do this guitar justice. That guitar is about as perfect as a guitar can get. It has volume, it has clarity, it has great basses and trebles, it has rasp, bark and every other flamenco word to describe what a great flamenco guitar should have. I think duende would not suffice. It is fitting that Mr. Fernandez's first name is Arcangel as that guitar played and sounded as if it was built for the highest rank of angels.

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 16 2011 14:39:25

Don Dionisio

Posts: 360
Joined: Feb. 16 2011
From: Durham, NC

RE: Arcangel (in reply to Guest)

Aaron,
It sounds like an Arcangel-inspired guitar by you is in order!
I hope to play this one some day.
Dennis

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 16 2011 15:13:28

aarongreen

Posts: 367
Joined: Jan. 16 2004

RE: Arcangel (in reply to Guest)

Hi Guys
Funny thing is when Keith was in my shop, I got a phone call from Dennis Koster. Keith was playing the other room and Dennis, over the phone asked who was that playing? He sounds great. I thought that said a lot about both Keith and the guitar.

Dennis,
Construction wise this guitar is very similar to a Barbero design (5 fan). The sound is a bit different than the Barberos I've encountered, mostly in the trebles I'd say. In any case this guitar, and a recent visit to the Sabicas Barbero, is making me think very strongly about going back to the 5 fan design, at least for when I want a guitar like this one.
I have an apprentice/friend and we're embarking on a joint venture building replicas of the Sabicas Barbero. Not sure when they will get done but he's doing all the grunt work and I'll do the bracing and tuning and overall quality control. Should be a fun project.

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 17 2011 12:13:50

avimuno

Posts: 598
Joined: Feb. 9 2007
From: Paris, France

RE: Arcangel (in reply to Guest)

Hi Aaron,

How difficult is it for a luthier to copy or clone a guitar? I know that a few of the great Spanish builders not only have their very own way of making their plantilla, but they also fine tune the top by making it thinner at certain places. From what I have gathered, this fine-tuning is dependent on the specificities of the wood itself, so the same guitar maker will fine-tune his design differently depending on the wood. I guess that it is for that reason that we can speak of an Archangel sound, a Barbero sound or a Reyes sound to name only those three. Not all Archangel, Barbero and Reyes sound the same but they all have the same DNA... in consequence they vary like the different members of the same family vary.

In consequence, I can imagine that it would be very difficult, if not impossible, to literally clone a guitar because it's not just a question of copying and pasting so to speak... it involves a process of learning how to think like the original builder.

To give you an example, a friend of mine ordered a Reyes clone from a luthier (who shall not be named) and to be honest that guitar does not really sound or play like a Reyes... I've owned a few Reyes copies myself and I have lucky to try a few Reyes from different eras when I was in Seville this past summer. I would describe a Reyes as having a very balanced sound, with a very sweet top end (Postigo always used the word 'dulce' to describe them)... they are also very expressive guitars and give out what you put in.... they can go from raspy to really dreamy depending on your toque. There's also a sort of hollowness in the mids, this is really hard to explain it has to be experienced, as well as a sort of natural reverb. All this contribute to the expressiveness and the lyrical nature of that design.
My friend's guitar on the other hand, although supposedly being a Reyes plantilla, has very predominant piercing highs, a thick Conde-like mid-range and is not expressive at all. The consequence of that I thought was that although it was a nice guitar, it was missing those characters that make a Reyes IMHO... those characters that make a set of experienced ears go 'This is a Reyes!' when they hear one... it's missing the Reyes DNA.

I have always wondered what would be an experienced luthier's take on this question... because it does not involve just replicating measurements and woods etc, but it's a question of recreating a very specific DNA. This reminds me of a theory in the philosophy of language that states that a language is a way of seeing and living in the world... as a consequence, learning a new language implies as much a process of learning to see the world as the speakers of that language do, as it is learning the rules of grammar and syntax.

I have exchanged a fair amount of emails with Tom Blackshear concerning his Reyes copies, which I think are absolutely ace, but your views would very much interest me.

Thank you.

Saludos,

Avi

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 17 2011 13:35:50

Anders Eliasson

Posts: 5780
Joined: Oct. 18 2006

RE: Arcangel (in reply to Guest)

quote:

In any case this guitar, and a recent visit to the Sabicas Barbero, is making me think very strongly about going back to the 5 fan design, at least for when I want a guitar like this one.

Welcome to the club. I went back to 5 piece bracing 1,5 year ago and I like it.

_____________________________

Blog: http://news-from-the-workshop.blogspot.com/

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 17 2011 15:58:00

Sean

Posts: 672
Joined: Jan. 20 2011
From: Canada

RE: Arcangel (in reply to Guest)

If you consider the Barbero/Archangel pattern to be a five fan

It seems to be half way between a five fan with closing struts and a seven fan to me, definitely unique in that way. The best answer I can give you Avi is there is no such thing as a duplicate of another makers work, if this were true making world class guitars would only require a pair of calipers. Perhaps a better term would be "inspired by" when working within another famous makers pattern.

_____________________________

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 17 2011 17:29:30

keith

Posts: 1108
Joined: Sep. 29 2009
From: Back in Boston

RE: Arcangel (in reply to Guest)

Aaron, you and Dennis are too kind. Funny thing about the Arcangel--it played so comfortably and the tone was so awesome that it pushed me a past my usual limits. There is definitely something to the adage that a good guitar will make a player better.

avimuno (and others)--It seems to me that if one could capture every measurement detail of a certain guitar and when the replica is built along those meaurements it becomes nothing but a hand built factory guitar. The original guitar was built with deference to the wood used and modified according to how the wood dictated and those dimension, specs, etc. were the result for that set of wood. A new set of wood brings its own requirements and the specs, dimensions, etc. are relative to that set. This is why we trust luthiers to build us a guitar as they know wood and how to work with it to make a guitar that is more than a duplication of measurements.

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 17 2011 19:04:32

Richard Jernigan

Posts: 3430
Joined: Jan. 20 2004
From: Austin, Texas USA

RE: Arcangel (in reply to Anders Eliasson)

...just got out the mirror and looked inside the '82 Arcangel blanca. It has 5 fans, with closing braces. I say "fans" but in the mirror they look nearly parallel. It's hard to tell just what the angle is looking in the mirror. It's nice and sunny here for the first time in a week, nor do I have a convenient light to put inside.

It has a brace under the bridge, parallel to it. I say "brace" because it is little, if any, bigger than the very light fan braces. It is definitely not the bridge patch that one often sees.

Richard Brune commented that the top was "thin" when he appraised the guitar. I have never tried to measure it. Slight printing of the three middle braces is visible between the bridge and tail block. There is no printing of the outer two braces. There is no visible depression of the top between the bridge and sound hole.

Brian Cohen said the guitar had belonged to a collector before I bought it in 2000. Brune said careful examination with a magnifying glass revealed no sign the instrument had ever been played. So it seems possible that the guitar has only been strung up to full tension for the 11 years I have had it.

RNJ

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 17 2011 19:43:56

Arash

Posts: 4495
Joined: Aug. 9 2006
From: Iran (living in Germany)

RE: Arcangel (in reply to Richard Jernigan)

Maybe interesting...
An Arcangel and a Conde
(same player, same room and recording conditions)

_____________________________

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 17 2011 20:27:42

Richard Jernigan

Posts: 3430
Joined: Jan. 20 2004
From: Austin, Texas USA

RE: Arcangel (in reply to Arash)

I like the Arcangel better. But, there may be better Condes, the best mic placement depends on the guitar, the sound depends on the player, the sound varies with the piece played, a recording never really sounds like the instrument, one player might like the Conde, another player might like the Arcangel....

Looks like Caceres has something under his right foot.

RNJ

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 17 2011 21:36:18

Morante

Posts: 2179
Joined: Nov. 21 2010

RE: Arcangel (in reply to Arash)

Interesante. Pero mi Gerundino suena mejor todavía.

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 17 2011 23:24:34

aarongreen

Posts: 367
Joined: Jan. 16 2004

RE: Arcangel (in reply to Guest)

Hi Avi,
You bring up a very good point when it comes to trying to work in the style of another maker. Personally, I don't advocate it unless you have the guitar in question, in hand and preferably for some amount of time. It also helps to have a great player (if you are not one yourself) to try and vocalize what it is that is making that instrument so successful. In other words, working from plans alone is not going to get you all the way there. However as a beginner, it is a very good way to go because a lot of what can be gained from copying something that exists is you don't have to recreate the wheel. However what you will end up with is a guitar that probably sounds like one of your guitars....whatever that might be.

The reason is very simple, the architecture of a guitar (or violin) is basically what could be considered "technique" if you were thinking as a player as opposed to an instrument. The architecture is not where the real stuff exists, its a vehicle to whats going on but its very much just the surface. Just like playing technique is not what makes great music.

What I mean by that is all the choices that go into how you build the guitar should be very much determined by whats actually going on with that set of wood, that design and of course what you are trying to do. When I am trying to absorb something from an instrument I like, I am tapping and flexing, trying to see how that guitar is working with itself, all those resonances and how they interplay, how the top feels when I tap it, what the resistance is like, how the bridge is affecting the top (flexible top with a stiff bridge, stiff top with a flexible bridge etc..)

What studying an instrument can tell you, depending on your sensitivity to such things is what the choices the builder made and the results with that set of wood, in that particular example. I totally agree with Sean about using the term "inspired by" as opposed to a "copy". I am inspired by a great number of guitars I've studied over the years and try to incorporate what it is I like about them into my own approach and therefore create something that is hopefully unique to me. I have yet to build a "copy" because I am a narcissist in the end. As much as I love all the great guitars I've been fortunate enough to study and get to know....I really think I can stand on their shoulders if I listen and learn what they have to teach. Thats progress and thats how it should be. But sometimes those old guys set the bar real high....

In the case of my friend/apprentice....we are in a unique position in that I am very familar with a guitar (the Barbero) that most people have never seen or heard, other than Flamenco Puro. It is a stellar guitar, far and away the best Barbero I've encountered. So it would be fun to actually build some guitars that are "copies" in the most accurate sense of the word. He's carving the headstocks right now, very much in the style of the original, which is to say it's a bit fast and furious. Barbero did not waste any time on being overly fussy but he still had enormous style and grace.

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 18 2011 0:28:18

RTC

Posts: 667
Joined: Aug. 20 2008
From: DFW Area, Texas

RE: Arcangel (in reply to aarongreen)

Aaron:
Do you mind posting some pic's and sound clip of the Barbero?
Thanks,

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 18 2011 1:10:11

aarongreen

Posts: 367
Joined: Jan. 16 2004

RE: Arcangel (in reply to Guest)

The Barbero is owned by a good client of mine near NYC. I don't have it in hand as it were but I hope to get it for a spell and put out a clip on Youtube of it. It's been such a topic of discussion I think people ought to hear it. I'll get a real guitarist to play it too. The owner (my client) passed away a few years ago so the guitar is in his family. I keep in close touch with them to make sure the guitar is well taken care and did some minor adjustments at one point.

Aaron

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 18 2011 1:27:15

Sean

Posts: 672
Joined: Jan. 20 2011
From: Canada

RE: Arcangel (in reply to Guest)

The first stuff I heard that got me into Flamenco music was Sabicas and Montoya playing Barbero guitars. I would love to see you do a video on this guitar showing both the luthiers and the players perspectives on it. Oops you beat me to it

_____________________________

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 18 2011 1:59:49

Richard Jernigan

Posts: 3430
Joined: Jan. 20 2004
From: Austin, Texas USA

RE: Arcangel (in reply to Morante)

quote:

ORIGINAL: Morante

Interesante. Pero mi Gerundino suena mejor todavía.

I'd be worried if it didn't. My Arcangel sounds a hell of a lot better than the recording--which sounds pretty good for an internet transmitted recording. But I have no idea how the one in the recording would sound in my hands in my room, or any other room. And I listened to the recording on a top of the line Linn sound system.

With that player and those recordings, I liked the Arcangel better. But with a different player, the preference might reverse. I kept wanting Caceres to dig in a little more on arpegios on the Arcangel.

RNJ

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 18 2011 5:40:56

HolyEvil

Posts: 1240
Joined: Nov. 6 2008
From: Sydney, Australia

RE: Arcangel (in reply to Arash)

quote:

ORIGINAL: Arash

Maybe interesting...
An Arcangel and a Conde
(same player, same room and recording conditions)

I prefer the arcangel..

conde even sounds a little negra-ish..

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 19 2011 4:38:23

Anders Eliasson

Posts: 5780
Joined: Oct. 18 2006

RE: Arcangel (in reply to Arash)

quote:

Maybe interesting...
An Arcangel and a Conde
(same player, same room and recording conditions)

Two different capo positions, two different palos, the Archangel being 47 years old, the Conde 2 years old...... I´m already off track.

The Archangel has a good deal of runout in the soundboard....

I agree with Sean, that it can be discussed if the Barbero 5 piece bracing system is a 5 piece system with very angled closing struts or a 7 piece with the 2 outer braces angled the opposite way. My own 5 piece bracing system is with 8 pieces.

5 almost parrallel braces, 2 closing struts and a very narrow and thin bridge strap

_____________________________

Blog: http://news-from-the-workshop.blogspot.com/

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 19 2011 8:01:14

aarongreen

Posts: 367
Joined: Jan. 16 2004

RE: Arcangel (in reply to Guest)

So is a zebra white with black stripes or black with white stripes? :)

On the topic of runout....

I once resurrected a mid 60's Lopez flamenco. I say resurrect as it was well beyond what any restoration would normally entail. It was my first big job and it took forever. The top was badly cracked and warped so I had to remove it (white glue too... not easy), clean it up, unwarp it, fix cracks, rebrace it, put it back as well as fix cracks in the back, new fingerboard..... It was as much work as building 3 guitars. The guitar was not playable when I got it either so it was not something I could judge the value of based on it's sound.

The reason I mention it is the guitar had a soundboard I would have used as kindling. It was simply the most runout laden piece of wood I've ever encountered. As I was working on it, I was thinking this is really pointless, this guitar is going to be a lemon. The upshot is that guitar turned out to be far from a lemon. It was actually really amazing and the best Lopez I've ever heard. I will admit that I took a lot of pains to get the bracing exactly like it was before but I chose really good wood and of course put some major loving into that guitar but still....if nothing else it taught me a lot about runout and it's supposed negative effects on sound.

I still would never use a piece like that but my beliefs and assumptions were definitely challenged there.

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 19 2011 13:01:52

Ruphus

Posts: 3782
Joined: Nov. 18 2010

RE: Arcangel (in reply to Guest)

Ya Aaron,

How did you unwarp it? Moisten and pressing flat?
And would it turn out perfectly straight again?

And what exactly is the "runout", please?

Thank you!

Ruphus

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 19 2011 17:09:35

orsonw

Posts: 1934
Joined: Jul. 4 2009
From: London

RE: Arcangel (in reply to Ruphus)

quote:

And what exactly is the "runout", please?

http://www.lutherie.net/frankford.runout.html

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 19 2011 19:52:42

Anders Eliasson

Posts: 5780
Joined: Oct. 18 2006

RE: Arcangel (in reply to orsonw)

quote:

I still would never use a piece like that but my beliefs and assumptions were definitely challenged there.

Same here and same observations. But it tells a lot about the sense of details of the luthier.

_____________________________

Blog: http://news-from-the-workshop.blogspot.com/

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 20 2011 17:06:23

Anders Eliasson

Posts: 5780
Joined: Oct. 18 2006

RE: Arcangel (in reply to Guest)

Basically, Nealfs post are about two things we´ve been through a thousand of times on the foro. Money and taste (or style) of a guitar. So here you have my interpretation of the subject.

*Money... Guitars are worth what someone is willing to pay..... Money is like that and maybe I can build a better guitar than this Archangel (I said maybe

) But the buyer with a lot of money and a serious need for an Archangel label will never be satisfied with the guitar I build.

*Taste or style cannot be discussed. Thats why we have different sounds and those who like a Barba dont like a Conde and visa versa. Those who like a Telecaster dont like a Les Paul. Or maybe they´ll understand the limits of the different styles of sound and will want both. etc

I´ve only tried one Lester Devoe. It was very good: well built, dry, loud and lots of volume. But I would never build a guitar like that myself.. It was so stiff and hard to play that I can imagine that 80 - 90% of all players would say no to it. But it was the right guitar for the player with a VERY heavy right hand.

_____________________________

Blog: http://news-from-the-workshop.blogspot.com/

REPORT THIS POST AS INAPPROPRIATE | Date Dec. 20 2011 17:14:15