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GUITAR BASICS BLOG

My Torres and Double top guitars

7/12/2017

2 Comments

 
I've been asked about my guitars.

The one used in my tutorials is a double-top, nomex, by Yulong Guo. Not your usual loud and no character; it's very sweet sounding, of course it is loud, but with a huge tonal palette. I had to change my angle of attack and touch at first, it's a beast that needed to be tamed. I normally just tell people it's a Chinese guitar and then they hear it and are blown away.

I was talking to Paul Fischer yesterday about the future of guitar design, he seemed to suggest that the future must be in guitars with great projection, but with character, I suppose that's why he created his taut system. I remember the first time I played one of his guitars, I was blown away (I now know it was his adapted lattice bracing system that was responsible). I thought I would never own one of his guitars, missed a few over the years (including one for £500 from 'Barry Mason's Spanish Guitar Centre'!!!) - but today, yes today, he offered me a Tiple he'd made years ago, Brazilian Rosewood back and sides for a price I couldn't refuse; sadly not a fully fledged, full sized, classical, but it has his signature sound, not sure what the bracing is, I'll check when I collect it, but it is loud and resonant with lots of personality.

The other guitar in the video is by Paul Fischer's apprentice (back in the day), Christopher Dean, who also lives just up the road. I'm pretty sure it's a Torres five brace top. Incredibly responsive. A beautiful instrument. Very sweet sounding, very subtle and, to be honest, gives the player nowhere to hide, it reflects what the player plays - so, great to keep a check on my technique and dynamics.

I'm very fortunate to own two beautiful classicals, both very different and ideal for contrasting repertoire. 
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2 Comments
Andy Howell link
8/12/2017 03:50:52 pm

Very interesting.

I really disagree about the future being about projection! I've heard some very loud guitars which just don't seem right at all!

I recently hear a story about a young woman who'd gone to do a conservatoire course. He father bought her a Smallman and very quickly she was being advised to change it — it projected well but apparently sounded horrible in smaller, teaching and learning sessions.

I guess this takes us back to the whole amplification thing!

I remember when Birmingham's Symphony Hall opened with refutably one of the best acoustics in the world and an acoustic that could be 'tuned'. I really wanted to hear a solo guitar piece in the hall and when I did I was very disappointed. I'm not sure whether the acoustic were just wrong of the guitar was simply not sensitive enough. The next time I tried the results were superb; the good acoustics allowed the subtly and complex colours of the player and the instrument to come through!

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Andrew Howell
5/1/2018 10:17:56 am

Intereresting. As you know I am not a classical player but I do enjoy listening to great classical players. I tend to think the projection thing is over-blown.I also prefer the sweet sound of an instrument and I wonder if in a decent concert hall projection is everything. I have heard a few players (and guitars) that simply don't sound nice to me!

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    Guitar Basics


    Over the years I've developed techniques and picked up some gems from influential teachers such as Craig Ogden, Manus Noble and Gary Ryan that can make playing so much more pleasurable, snippets that can help make the seemingly unachievable, achievable. 

    My general approach to good technique is one based on relaxed posture and focused effort. The reason we work on technique is to allow the music to be freed from the score and expressed by the guitarist with ease and confidence.

    Lots of students have asked if I could record the exercises we regularly use and this blog is the result.

    Blog introduction can be read here.

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