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.
|
|
|
The new book Santos Hernandez
|
You are logged in as Guest
|
|
Users viewing this topic: none
|
|
Login  | |
|
   
estebanana
Posts: 9413
Joined: Oct. 16 2009
|
 RE: The new book Santos Hernandez (in reply to Firefrets)
|
|
|
quote:
ORIGINAL: Firefrets
Guitar books are always so expensive...
What are your thoughts on using a veneer as a Golpeador?
Very useful on an old guitar with a torn up top as a way of making it look not torn up.
Ever see a guitar with deep finger nail gouges under the first string? Easy cosmetic fix is to use veneer applied with hide glue. Then on top of the veneer apply a thin self adhesive Mylar.
Occasionally there’s a call to use an opaque tap plate for reasons, veneer with thin plastic over it can be used or white plastic. ( or z any color)
I had someone request macassar ebony plates. I covered macassar veneer with coats of epoxy and I polished it. Then shaped tap plates and glued it on. He came back ten years later and asked my to remove them. I ‘uninstalled’ them in 2018 when I was in Oakland for 6 weeks in the summer. I was in town for 3 weeks and I was staying at my friends steel string repair shop, when word got out I was there and touching up French polish, I got a flurry of calls to do repair work on tap plates, set up and French polish! I was making enough money to pay for the trip and went home 1600 bucks richer.
The Santos book isn’t a catalog raissone’, so it’s not complete, but I think it makes up for that in how it gets across the straightforward beauty of his work. That’s more important to us makers today than a dry encyclopedic encounter because it helps guitar lovers become acquainted with his work. The more his aesthetic is understood, the better for those of us who consider that epoch a place or area of specialization in our own building. It helps make the case for that time period to be seen as complete phase of guitar making worth continuing investigation.
The book helps to put to rest that we advanced since the mid century Spanish school worked out the format. Those guitars are ‘complete’ and don’t need to be improved upon. Things that come later like Daniel Frederich are a bit of a different thing. Then the lattice and double top event is a side ways movement, not a forward movement.
It’s just time for everything to settle down and stop being this frenetic reach to outdo everything else and embrace the idea that the guitar has already been invented and doesn’t need constant reinvention. The Hauser/Santos zone is a complete place by itself that is still valid. More people are realizing that instead of seeing it as the past. It’s giving a good argument to the concept that guitars from different eras and schools are a series of trade offs in terms of performance needs, and not that contemporary guitars are better.
If you’re a hot dogging international conservatory student and out to win classical guitar competitions there’s a kind of guitar you’re almost expected to invest in. That’s not the guitar everyone needs, or even wants. So the book helps bring home this idea from the point of the beauty of Santos’ work and the testimonials by important guitarists today using his guitars. It’s still important to try to build high quality guitars in that way today.
_____________________________
https://www.stephenfaulkguitars.com
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Jun. 10 2023 7:59:30
 |
|
Firefrets
Posts: 122
Joined: Mar. 22 2023
|
|
RE: The new book Santos Hernandez (in reply to estebanana)
|
|
|
I'd have thought given the variation between woods that it poses a possible problem with shrinkage / expansion, but I've seen a few guitars here and there that have had them applied.
By far, my favourite are that of antique mandolins. I notice that the old mandolin makers didn't just stick them on, but actually inlaid them in to the soundboard. I've an instrument there, probably a few hundred years old that I need to do a bit of work on where the plate is a visual delight. They also lined the inside of the bowls with paper, which I've not seen a guitar maker do before.
I know nothing of Santos Hernandez, other than the fact I can't afford one. There's currently a couple on Ebay but the asking price is above 40k.
I'm a big fan of the traditional 'rustic' building styles. When I look at modern guitars, they seem to follow a very conservative trend.
It's a long conveyor belt of similarity. We can say that the effects of age, and time, is what gives a guitar it's character, but being somebody who deals almost exclusively with vintage instruments, I actually think the lack of character comes from the modern attitude.
One can argue that a guitar should not be an instrument dictated by class structure, but especially in the classical genre, I think there is definitely a swing towards catering for the tastes of the upper class.
I understand that there's only so much you can do when building a guitar that hasn't already been done before, but are modern luthiers a little bit guilty of being sheep / playing it safe?
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Jun. 10 2023 10:31:08
|
|
Fawkes
Posts: 105
Joined: Feb. 11 2015
|
|
RE: The new book Santos Hernandez (in reply to Firefrets)
|
|
|
quote:
ORIGINAL: Firefrets
One can argue that a guitar should not be an instrument dictated by class structure, but especially in the classical genre, I think there is definitely a swing towards catering for the tastes of the upper class.
Class isn't a very useful category for thinking about the distinctive aspects of the culture of the classical guitar world. Something about the way Segovia magnified and framed the popularization and bifurcation of the Spanish guitar has had lasting effects, even though many modern players would say they have moved on. You start with the lemming sensibility which is pretty common in any pursuit, throw in Segovia's drive to narrow and elevate the classical guitar, leaven that dough with a kind of self-consciousness guitar people have had about things like borrowed repertoire, volume and mic use for concerts, relevance and popularity. The snobbish aspects of classical guitar culture are in a broad sense not unique, but they have a distinct flavor because of all of the above.
quote:
ORIGINAL: Firefrets
I understand that there's only so much you can do when building a guitar that hasn't already been done before, but are modern luthiers a little bit guilty of being sheep / playing it safe?
They are, but it's about the same as for other classical instruments in that it's market-driven, and people willing, or in a position to take risks exist, but are just rare. The margins don't encourage high risk investment in experimentation.
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Jun. 10 2023 17:41:32
|
|
Firefrets
Posts: 122
Joined: Mar. 22 2023
|
|
RE: The new book Santos Hernandez (in reply to Fawkes)
|
|
|
quote:
quote:
ORIGINAL: Firefrets
One can argue that a guitar should not be an instrument dictated by class structure, but especially in the classical genre, I think there is definitely a swing towards catering for the tastes of the upper class.
Class isn't a very useful category for thinking about the distinctive aspects of the culture of the classical guitar world. Something about the way Segovia magnified and framed the popularization and bifurcation of the Spanish guitar has had lasting effects, even though many modern players would say they have moved on. You start with the lemming sensibility which is pretty common in any pursuit, throw in Segovia's drive to narrow and elevate the classical guitar, leaven that dough with a kind of self-consciousness guitar people have had about things like borrowed repertoire, volume and mic use for concerts, relevance and popularity. The snobbish aspects of classical guitar culture are in a broad sense not unique, but they have a distinct flavor because of all of the above.
quote:
ORIGINAL: Firefrets
I understand that there's only so much you can do when building a guitar that hasn't already been done before, but are modern luthiers a little bit guilty of being sheep / playing it safe?
They are, but it's about the same as for other classical instruments in that it's market-driven, and people willing, or in a position to take risks exist, but are just rare. The margins don't encourage high risk investment in experimentation.
If you could list the top reasons why somebody might buy a brand new hand built guitar, what might they be?
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Jun. 10 2023 20:08:06
|
|
estebanana
Posts: 9413
Joined: Oct. 16 2009
|
|
RE: The new book Santos Hernandez (in reply to Echi)
|
|
|
quote:
ORIGINAL: Echi
It's basically impossible to write a good book about Conde.
Santos made a small number of guitars throughout his life and was a one man shop.
You could say the same about Torres or Barbero but when you speak about a 100 years old dynasty with some heirs still in the business things get complicated.
Someone like Bruné could decide to write a monographic book about the flamenco guitar from the 1950 to 1970 and this would be extremely interesting.
Domingo Esteso’s career is roughly analogous to Santos’, it would be possible to document his work because enough of it still exists. There’s enough of the guitars from Domingo’s sobrinos to write about Faustino and his brother, although unfortunately a lot of the people who could give good first person stories about them are gone now. After that the way the story goes could be sketched out enough to sidestep the majority of the forays into the various labeling schemes; a chart outlining the labels and where the majority of them were made, that’s probably possible to map out. I think there are a few problems with attribution that I’ve heard of stemming from claims that other makers’ guitars were labeled with Conde’ labels ( interesting story and sad) - but I think up until Faustino’s work that’s signed there’s a fairly strong path if the scope of the book covers Domingo, Viuda guitars, and then until Faustino quits. Mariano of course made guitars, but the way I received the info was that he was more in front of the shop and had a personality that was not as ‘dry’ as Mariano.
Once I asked David Serva to take me to see Archangel because I wanted to know if he’d grant an interview. David said he could take me there, but I could tell you more about him than he could tell you, and you won’t squeeze anything out of him because he’s dry as an old rag. We decided to have a drink instead.
Thus my career as an investigative journalist of guitars began and ended in one sentence.
So any book on Conde’ would work if it were combined to tell the story of Domingo to Faustino, and that would be enough to create a great book. After that, why sort it out now? Not enough time has gone by to tell the rest of the story.
_____________________________
https://www.stephenfaulkguitars.com
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Jun. 14 2023 1:21:44
|
|
 New Messages |
 No New Messages |
 Hot Topic w/ New Messages |
 Hot Topic w/o New Messages |
 Locked w/ New Messages |
 Locked w/o New Messages |
|
Post New Thread
Reply to Message
Post New Poll
Submit Vote
Delete My Own Post
Delete My Own Thread
Rate Posts
|
|
|
Forum Software powered by ASP Playground Advanced Edition 2.0.5
Copyright © 2000 - 2003 ASPPlayground.NET |
0.078125 secs.
|
Printable Version
