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I'm surprised by the number and size of the back braces

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Believe me or not, squared or not, I'm accustomed to judge the guitars for how they sound and how easy they are and not for how many struts they have underneath.

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the other option is that you don't read carefully enough

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I'm surprised by the number and size of the back braces. Unless it's very thin that back is going to be tight as a drum (maybe a good thing)

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ORIGINAL: estebanana

That Bellido, even through you tube a layers of mics and such sounds great.

The reason I was thinking about Fleta however was to make a a classical to put on consignment at a dealers in Nagoya. They granted me, finally, the invitation to show in their shop. The Fleta would be a first for me so not sure I want to chance it. I have been making a Hauser II brace scheme for classicals that I am getting used to, maybe not the best time to switch to a new model.

Wondering now how you think Bellido trimmed down the Fleta idea to make a flamenco? I have seen a de la Chica with 9 fans and a few other rely good flamenco guitars with seven or nine fans, that taught me that it's not a number of fans or always light structure that makes is flamenco. You would not happen to be adventurous enough to shine a light in your guitar and show the braces would you? haha Or speculate on how thick or thin the top is?

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Any insight to the Hauser II curved harmonic bar? Does it add anything sound wise by doing that?

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Andy, I would just like to say that you started a very interesting thread and discussion among luthiers. You, Anders, Echi, Stephen, Tom, John and other luthiers have important and interesting things to say, not only among yourselves, but for those of us who are non-luthiers as well. It is great to see you guys carrying on this discussion, and we all gain from it.

Bill

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Any insight to the Hauser II curved harmonic bar? Does it add anything sound wise by doing that?

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My understanding is that there are 100's if not 1000's of guitar designs and each good design has its own merit regardless of what it is. I have found that most popular designs can be modified by top or strut thickness to accommodate most players needs, just by fine tuning. But when it comes to classical vs. flamenco, we have to take into consideration that some designs hold strictly to one or the other style.

In my opinion, flamenco guitars need more flap in the top which requires less fan brace support, and even this can be managed to give a stiffer articulation depending on where or how the braces are placed; top thickness, and so on. For example: A 2.8 mm top needs practically no fan bracing unless you are using them to guide certain tonal aspects and/or sustain value.

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I also constantly work with the goal of getting stronger trebles while keeping the very traditional sound...
But.... After having met some guitars that i made years before, I have kind of changed my visions. Some of these traditional guitars devellop very strong and specially very singy trebles over the years. But it takes time and a lot of playing on them.

What we, the builders have in our hands while we fine tune is newborn babies and we finetune something that by itself will change a lot with time. Thats a bit like trying to see something in the dark with the idea that its with light.
The other day I uploaded a video of a newborn baby that i had just delivered. And since it wasnt me playing, you can actually hear how it sounds. I think its already a very nice guitar but I know that in 3 - 5 years time it´ll sound quite different and that its especially the trebles that will devellop, be brighter and stronger.

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But why bother when you can make Santos ! haha

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I feel that the Reyes supersedes the Santos for the more modern school, as I get a brighter treble end with good bass support.

Don doesn't lay down on the bass that much but its there when needed.

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This is speculation and I have not made enough of them to test this yet, but I think opening up more free soundboard area can potentially lower the main top resonance. The Hauser II, like yours, have a "Vee" shaped braced, I think builders after Hauser II interpreted that Vee into a curve. I'm not sure if Hauser II did or did not make them with curved braces.

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Any thoughts on how or why some guitars eat nail attack noise and other guitars don't?

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ORIGINAL: estebanana

When I hear the Hausers on the GSI website videos most of the sound like they have a metallic core sound. The classical players don't push that part of the sound, they play to far forward to drive it more metallic, but I can see what you mean.

Any thoughts on how or why some guitars eat nail attack noise and other guitars don't? Just from player intuition what would you say?

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There is nothing new under the Sun, old guitars can be powerful as new guitars. In fact it's not even about power, or trebles, it's about voice.

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So to "eat" the attack or brightness, the simplest ways to see it is if the mids are increased. Take a sound system and increase the mids and notice the attack disappears in favor of a more vocal type tone. THis will also remove thumping basses and seem to increase volume. So I would think that a stronger mid range built into a guitar will do the same thing. Guitars with a more scooped mids will have that brightness and deep punch. Balance is key.

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Granted, the more you work with the voice the more it interferes with the volume.

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I will say the bright clicking of nails on the strings and zipping of fretboard fingers across the strings are due to the very higher frequencies. When bass strings die brightness is lost and with it goes a lot of the string noises of a new set of strings. Old trebles however can have a bad overly bright sound when dying I think because they wear and lower action and slap the frets more. For sure when a set of strings is new and settled (not stretching) the guitars seem brighter due to the upper harmonics sparkling in tune with each other.

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What do you think about guitars that do not sound BIG under your ear, but sound enormous 20-30 feet away? Not blown up sound, but penetrating sound, highly focused at long range. Yet under the ear not "explosive".