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Manuel Reyes Passed Away   You are logged in as Guest
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Peter Tsiorba

Posts: 130
Joined: Oct. 27 2009
From: Portland, Oregon Pacific Northwest

Manuel Reyes Passed Away 

Good bye Maestro Reyes.

http://www.guitarsalon.com/blog/?p=9782

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Peter Tsiorba
Classical-Flamenco-Guitars
tsiorba.com
  REPORT THIS POST AS INAPPROPRIATE |  Date Nov. 14 2014 22:38:52
 
bernd

 

Posts: 680
Joined: Feb. 15 2004
 

RE: Manuel Reyes Passed Away (in reply to Peter Tsiorba

I´ve got the info yesterday but could read it today.
What a pity!

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  REPORT THIS POST AS INAPPROPRIATE |  Date Nov. 15 2014 12:17:19
 
LandKGuitars

 

Posts: 19
Joined: Oct. 23 2014
 

RE: Manuel Reyes Passed Away (in reply to Peter Tsiorba

RIP MAESTRO REYES!

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L & K Guitars
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  REPORT THIS POST AS INAPPROPRIATE |  Date Nov. 16 2014 13:39:22
 
El Kiko

Posts: 2697
Joined: Jun. 7 2010
From: The South Ireland

RE: Manuel Reyes Passed Away (in reply to Peter Tsiorba

ohh ... just heard this here ... big news this is .....

such a nice guy ...i lived just a few streets away from him in Cordoba and had a coffe or something with him a few times ..he definitely knew his guitars ok ...

Its a pity , i always thought he would be there and maybe i would meet him again when i went back ....

hasta Siempre entonces ....
Kiko

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  REPORT THIS POST AS INAPPROPRIATE |  Date Nov. 16 2014 22:02:25
 
Andy Culpepper

Posts: 3002
Joined: Mar. 30 2009
From: NY, USA

RE: Manuel Reyes Passed Away (in reply to Peter Tsiorba

RIP Maestro. I hope to try one or two of your guitars some day.



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Andy Culpepper, luthier
http://www.andyculpepper.com
  REPORT THIS POST AS INAPPROPRIATE |  Date Nov. 16 2014 22:32:13
 
Morante

 

Posts: 1942
Joined: Nov. 21 2010
 

RE: Manuel Reyes Passed Away (in reply to El Kiko

quote:

such a nice guy


I used to think the same, a sort of hero worship. When I went to Córdoba I always went to visit with a bottle of Montilla.

But when I ordered and rejected a guitar of his son for various faults, Manuel came out in his defence.

I pointed out that the 12th fret note was a quarter tone out with the harmonic. Manuel said they were the same. I produced a high quality tuner which demonstrated the difference. Manuel said that the tuner was wrong.

I still think he is one of the great luthiers, but...
  REPORT THIS POST AS INAPPROPRIATE |  Date Nov. 17 2014 13:27:24
 
Tom Blackshear

 

Posts: 2304
Joined: Apr. 15 2008
 

RE: Manuel Reyes Passed Away (in reply to Morante

quote:


I pointed out that the 12th fret note was a quarter tone out with the harmonic. Manuel said they were the same. I produced a high quality tuner which demonstrated the difference. Manuel said that the tuner was wrong.


I believe Manuel but not for the reason you might think. He very well may have all his fingerboards engineered to be the same since all of his playing scales are mainly 655 mm.

However, I have found that although one of his tops is designed with no harmonic variance, there will be a tendency for a top to be off in its ability to perform certain synergistic relief for the tone in all of his instruments.

In other words, the top has to be tuned just right for the fingerboard. This is harder to achieve but when it is right, then it can be an incredible instrument. This is the reason I have learned how to fine-tune the 2003 design I work with.

Also, Manuel liked to formulate different designs a lot, and this can sometimes play havoc with the harmonics. So, if the fingerboards are the same, then perhaps its the top design and tuning that causes the tone and harmonics to be off a little.

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Tom Blackshear Guitar maker
  REPORT THIS POST AS INAPPROPRIATE |  Date Nov. 17 2014 13:45:39
 
Ricardo

Posts: 13656
Joined: Dec. 14 2004
From: Washington DC

RE: Manuel Reyes Passed Away (in reply to Tom Blackshear

quote:

ORIGINAL: Tom Blackshear

quote:


I pointed out that the 12th fret note was a quarter tone out with the harmonic. Manuel said they were the same. I produced a high quality tuner which demonstrated the difference. Manuel said that the tuner was wrong.


I believe Manuel but not for the reason you might think. He very well may have all his fingerboards engineered to be the same since all of his playing scales are mainly 655 mm.

However, I have found that although one of his tops is designed with no harmonic variance, there will be a tendency for a top to be off in its ability to perform certain synergistic relief for the tone in all of his instruments.

In other words, the top has to be tuned just right for the fingerboard. This is harder to achieve but when it is right, then it can be an incredible instrument. This is the reason I have learned how to fine-tune the 2003 design I work with.

Also, Manuel liked to formulate different designs a lot, and this can sometimes play havoc with the harmonics. So, if the fingerboards are the same, then perhaps its the top design and tuning that causes the tone and harmonics to be off a little.


Interesting, but I think Morante was not talking about top resonounce, rather the actual intonation of the strings. If the guitar plays out of tune (I assume the main issue he had), then the "harmonic" test reveals exactly what is wrong (sharp or flat fretted note vs open harmonic). Most often I use this test to reveal BAD STRING SETS, but it can be a rare mistake in the geomotry as well. I assume that Morante did try different string sets before returning to cordoba. Also this exercise can show the issues with Compensation (remember Reyes doesn't use it so finger pressure can pull the note sharp if not careful) that we discussed in the past.

Ricardo

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  REPORT THIS POST AS INAPPROPRIATE |  Date Nov. 17 2014 16:20:09
 
El Kiko

Posts: 2697
Joined: Jun. 7 2010
From: The South Ireland

RE: Manuel Reyes Passed Away (in reply to Morante

Well an unfortunate story, I can well believed that he would not have guitars made that were ' out' and he oversaw all the guitars made there , especially at first.
I came across a similar thing once after a Luther ' in another part of Cordoba ,(Aguilar) did a bit of a repair, and there was an intonation/tuning problem, higher up the neck,, which turned out to be the nut that was causing it,, of course the Luther said it was not .
However he did redo the but for me, and it was fine then, in fact I still have the guitar after many years now...

I was grateful that he looked at it for me and said no more about it...I don't need problems.
And played a few of his guitars that were really top class

However, its difficult to keep things totally spot on in the workshop, especially when others are involved.. And his son has a big reputation to keep up.
I never met him though

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  REPORT THIS POST AS INAPPROPRIATE |  Date Nov. 17 2014 17:23:40
 
Tom Blackshear

 

Posts: 2304
Joined: Apr. 15 2008
 

RE: Manuel Reyes Passed Away (in reply to Ricardo

quote:

Interesting, but I think Morante was not talking about top resonounce, rather the actual intonation of the strings. If the guitar plays out of tune (I assume the main issue he had), then the "harmonic" test reveals exactly what is wrong (sharp or flat fretted note vs open harmonic). Most often I use this test to reveal BAD STRING SETS, but it can be a rare mistake in the geomotry as well. I assume that Morante did try different string sets before returning to cordoba. Also this exercise can show the issues with Compensation (remember Reyes doesn't use it so finger pressure can pull the note sharp if not careful) that we discussed in the past.

Ricardo


I'm sorry I didn't make it clear enough for you. Sometimes a different guitar design will need a different compensation, harmonically. If Reyes adjusted his designs, enough, then there might have been a need to adjust the playing scale, not just keep it at 655 mm.

In other words, I can't use a 655 mm playing scale for a Rodriguez design without adding compensation, as Reyes does not do with his design. And this is going to take me some thought about using the 655 mm scale on this Conde tutorial, without having to add compensation.

Also, on the Reyes style guitar, I glue the bridge about 1 mm longer, which allows for the bridge saddle to pull forward under string tension, with age, and this works for the string being pressed down when playing the guitar. So, you can't just glue the bridge at exactly 655 mm and expect it to work. At least, not on this particular 2003 design I work with.

And to think about it, there might have been enough wood behind the saddle slot to move the scale longer, which might have produced a good guitar.

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Tom Blackshear Guitar maker
  REPORT THIS POST AS INAPPROPRIATE |  Date Nov. 17 2014 18:05:26
 
estebanana

Posts: 8642
Joined: Oct. 16 2009
 

RE: Manuel Reyes Passed Away (in reply to Peter Tsiorba

I think Tom is onto something here. I think the Reyes Jr. put the bridge in the wrong place. Compensation is tricky is you just rely on the saddle placement. I think different guitars types have slightly different ways you have to compensate them.

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  REPORT THIS POST AS INAPPROPRIATE |  Date Nov. 17 2014 23:11:30
 
Tom Blackshear

 

Posts: 2304
Joined: Apr. 15 2008
 

RE: Manuel Reyes Passed Away (in reply to estebanana

I've come to the conclusion that many different guitars require different playing scales because of their different designs. You can make slight differences in the fan bracing and the harmonic changes can be fascinating.

The way I check for a harmonic change is to glue the bridge in its prescribed place and then clamp the pre-cut fingerboard, leaving the length a slight bit longer, overlapping the sound hole a little to check out how much compensation I will need for harmonic alignment on the 12th and 19th frets before I glue it to the neck. Usually I string it up the first and 6th string to concert pitch to check the harmonics, then glue the fingerboard in place.

This should be correct but if there is a very slight difference in the harmonic, then I remove the bridge and adjust it to perfect alignment after I finish the top, which I'm going to do anyway.

Now, this is all figured out with the idea that the guitar already has a 655 mm scale or another design that works with a certain scale. In other words the neck has to have a certain length already in consideration.

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Tom Blackshear Guitar maker
  REPORT THIS POST AS INAPPROPRIATE |  Date Nov. 23 2014 15:03:18
 
Ricardo

Posts: 13656
Joined: Dec. 14 2004
From: Washington DC

RE: Manuel Reyes Passed Away (in reply to Tom Blackshear

quote:


This should be correct but if there is a very slight difference in the harmonic, then I remove the bridge and adjust it to perfect alignment after I finish the top, which I'm going to do anyway.


Wait a minute...does that mean you have to glue, unglue reposition and reglue the bridge of every guitar you build? Why not glue the fingerboard, clamp the BRIDGE, and then reposition if need be after checking intonation. Why only clamp fingerboard if you are gonna change the bridge position anyway? Do you mean something can be done to the fingerboard too?

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  REPORT THIS POST AS INAPPROPRIATE |  Date Nov. 24 2014 21:40:43
 
Tom Blackshear

 

Posts: 2304
Joined: Apr. 15 2008
 

RE: Manuel Reyes Passed Away (in reply to Ricardo

Ricardo, perhaps I should explain it this way...... on a new guitar design, I may have to do some readjusting with a slight compensation. I want to be sure to keep the bridge in the right location of the top, as close as possible. This is the reason I glue the bridge first.

Then I clamp the fingerboard to the neck to check the harmonics at the 12th and 19th frets, this finds the fingerboard's position. Then I glue on the fingerboard. If for any reason the harmonics are slightly off, then I reset the bridge with a slight compensation, up or down, as I always remove the bridge to finish out the guitar.

This slight adjustment would not hurt the tone.

And once I find the correct playing scale then I don't have to repeat it. As said before, I'm using the 655 mm scale on my tutorial but I'll have to find if this build needs compensation, or no.

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Tom Blackshear Guitar maker
  REPORT THIS POST AS INAPPROPRIATE |  Date Nov. 24 2014 22:15:19
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