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Pepe Romero jr's flamenco's bracing
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keith
Posts: 1108
Joined: Sep. 29 2009
From: Back in Boston
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RE: Pepe Romero jr's flamenco's bracing (in reply to HolyEvil)
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here is a description of said guitar (from GSI): "The sound is thick and warm, yet very pure and separated, which is exceptional for a cedar top negra like this. One interesting detail is the use of a brass nut, which also adds an extra helping of clarity and brightness to the sound." If one likes their flamencos thick and warm then I guess the "reverse spread" of struts might be the way to go. In my years of reading posts by luthiers it seems the standard torres type pattern has yet to be beat. Additionally, it seems to me most of the luthiers who have posted believe the strut pattern is secondary to a host of other components such as strut thickness, height, and slope--as well as a host of other non-strut components (top thickness, etc.). There have been a few threads at acguitar and delcamp about new and improved strut placement and it seems to me the general consensus is the "tried and true" torres" spread seems to be the best (of course Smallman's system is unto itself and is definitely a radical departure and seems to be the one non-torres-ish system being used by many luthiers across the globe). These new and improved strut systems include Kasha and a patent system using curved braces, etc. Of note, these non-torres type systems have been used on classical guitars. I have not heard of a lattice braced, very thin top flamenco. Has anyone?
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REPORT THIS POST AS INAPPROPRIATE |
Date Jul. 16 2012 21:53:28
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estebanana
Posts: 9367
Joined: Oct. 16 2009
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RE: Pepe Romero jr's flamenco's bracing (in reply to HolyEvil)
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I know which one he's talking about. I still say call Pepe Jr. he has access to many many guitars that belong to his family and he probably has reasons for using that system. I bet he would explain it briefly in an email. I hesitate to say anything because I would not want to second guess Pepe Jr. - But guitars are funny creatures, what works for one person may not work for another person. And it's difficult often to explain why. Guitar making is super personal, in the same way that rasgueados are for players. Why does one player make a certain type of rasgueado sound different than another player? When you get into generalizing about what a brace system does, someone else can employ the same system or something close and work it to sound different. Think about how much variation in sound one an get by simply working the Torres basic pattern over and over. I'm of the opinion that you can make any brace system work if you mess with it enough. Others disagree. So there you have a difficulty even getting a consensus on a general unified field theory of brace systems. If Pepe has built that one several times he would be the one to say what it enables him to do. He may not want to reveal why or how, I would not if it were me, but he might say something that he heard or understood about the original guitar with that bracing he encountered that had qualities he liked. The other thing is maybe the way the copy is written in the ad is to get you excited about this mystical brace pattern. Which is also a good reason to go right to the source and ask how that original guitar spoke to him...? Guitar making is really putting together a lot of information, parts or systems once separated from the context of the whole may not be tangible information for forming an answer. One more thing, without hearing the guitar, judging or explaining by the description in the copy is nearly impossible. It's not a common brace system, it's rather an esoteric inversion of what we usually do, I could speculate, but I have not made one or many like that so I would rather ask someone who has. Saves time that way.
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REPORT THIS POST AS INAPPROPRIATE |
Date Jul. 17 2012 3:26:26
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