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My friend Stewart Port made this oud about 15 years ago. The customer was hard up for money and put it up for sale on Craigslist for a song. Stewart was pissed and bought it back immediately. He’s had it ever since.
Let’s take a look at it, it’s very cool. It’s based on an extant oud or Laute de Malta made in 1880.
Mexican Cypress from Paracho area, I think a Euro spruce top.
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I’ve often wished it was in my own collection. And by collection, I mean my first instrument in a collection that’s not one of my failed guitars I keep around to detest. 😂
If I was a collector I’d grab this one, but this isn’t a sales pitch. I actually thought the flamenco crew would be fascinated by this.
The roses weren’t made by Stew, his customer supplied them to cut costs, but they’re ok.
The top has tall thin lateral braces. I just love this thing.
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I actually thought the flamenco crew would be fascinated by this.
Period instruments are fascinating, thanks for sharing. However, I don’t get excited as in “I have get that thing in my hands!”, as I do with proper guitars. Like in Breams Guitarra he plays these weird things like the vihuela and then FINALLY he gets to Bocherinni or whatever.
I don’t really know what this prejudice is I have in me, but I don’t like Torres, or Gonzales, or even those early Jose Ramirez guitars, etc, it is not until I see Manual Ramirez style instruments that I get this sensation that I have to have that thing in my hands. As if all these other “things” are normal guitars trapped inside bizarre structures and that perfect guitar design is trying to get out. And as a kid growing up with classical guitars (Hauser and Ramirez mainly), it was the flamenco guitar design that really grabbed me, and still is…so it is not like some deep imbedded childhood thing, otherwise I would prefer those classical style designs more. The only weird guitar that gets me is the Geronimo Peña Fernandez. Again, not sure why.