When can't find a good description of the sound: "this guitar sounds very special..." lmao. I think the guitars in this episode represent the trend of modern guitar sound: bright, fast, and a bit nasal. My preference this week is the Devoto. Thank you again!
This series really is getting better and better. Thanks for your hard work! My request: form a relationship with French luthier Bastien Burlot and introduce his Alkemia guitars to a much wider audience!
In this batch guitars, Devoto is the only one with spruce’s characteristic clear tone, the others all have, to a different degree, an amplified bass sound like Double top guitars. So depending on your personal taste, you’ll pick different winner. I have been following this series and noticed the progress you have made. Here is something I like to see more. I understand that at your position, you need to be diplomatic when you find some imperfections in the guitars you are comparing, but it shouldn’t stop you from highlighting the strengths of each guitars. Audience rightly expect to hear your opinions backed up by your expertise. So do mention the qualities of each guitar that stand out. This way, audience will sharpen their ears and learn more from your series. Keep up with your good job. 👏👏👏👏👏
Very enjoyable again, thank you. I would go with Devoto. For next week you may want to present one (or more) of your Hernandez y Aguado in stock (maybe even compare them to each other? 🙂) Thanks
What's the name of the song you play? Very beautiful. Please tell me the name of the song you play. Listening to this makes me want to play classical guitar very much.
Fand es prima, dass du einige Begriffe vorgestellt hast, mit denen man den Klang/Verhalten von Gitarren unterscheiden kann. Aber eine für mich sehr wichtige Unterscheidung fehlte. Und zwar die der Ansprache. Das was ich meine, geht aber weit darüber hinaus, ob eine Gitarre eine „gute“ Ansprache hat oder nicht, also ob man mit wenig Energie schon eine größere Lautstärke erzeugen kann. Sondern es geht darum, wie linear ein Spieler das Verhältnis von Kraftaufwand und Lautstärke erlebt. Also wie leicht es ist, die Lautstärke zu kontrollieren. Wenigsten für mich als Laienspieler ist das ein entscheidender Unterschied, der einen großen Einfluss darauf hat, ob es mir Spaß macht auf der Gitarre zu spielen oder nicht. Vielleicht ist das mit zunehmendem Können nicht so wichtig, da dann der Spieler andere Möglichkeiten hat sich an das Instrument anzupassen. Aber ein Spieler mit meinen Möglichkeiten sucht sich besser ein „passendes“ Instrument, wo das Verhältnis von Kraftaufwand und Lautstärke als natürlich erlebt wird. Nun könntest du einwenden, dass diese Unterscheidung dann für ein Review ganz unerheblich ist, wenn so individuell. Naja, ums Ausprobieren wird man nicht herumkommen. Trotzdem kann man versuchen eine Gitarre in dieser Dimension zu beurteilen. Konkret fände ich z.B. folgende Demonstration hilfreich: In 3 oder 4 verschiedenen Lagen einen Ton spielen. Mit sehr leichtem Anschlag beginnen und die Stärke langsam erhöhen. Am besten, ohne die Gitarre selbst dabei zu hören, damit man der Spieler keine Möglichkeit hat sich an das Instrument anzupassen. „Einfach“ in der Lautstärke zu kontrollierende Gitarren wird man vermutlich durch einen solchen Test erkennen können, da der Lautstärkeentwicklung linearer verläuft.
That Schubert sounds nearly the same on all the guitars he plays from the perspective of listening on youtube. I'm sure they sound slightly different in person. But consider it's the same exact notes played by the same player using the same instrument type (classical). I would expect the sound to be pretty close. The only difference I've noticed is usually the "depth" or "sustain" can vary through my cheap speakers. I think the type of strings probably has a bigger impact on the sound than the type of classical guitar. Perhaps tonewoods make it a little darker or brighter. Honestly I bet the strings are a bigger factor in how the listener hears the song unless they are a trained musician.
Sorry, my sentence got cut off by accident. I always thought of tone separation as notes sounding as the single frequency they represent and not containing other frequencies excluding their overtones. Also that a note is what it is supposed to be, i.e. an E is an E and not a not closer towards F. Hearing all the notes when you play and chord is a volume/hearing issue. Am I misinterpreting the definition of clarity?
You are absolutely spot on when you say "the notes sounding as the single frequency and not containing other frequencies excluding their overtones". I just tried to explain the same thing with a more easier example to understand. But I would say "an E is an E and not a not closer towards F" is more a matter of intonation. Thanks for your comment Behrooz
Devoto first, no debate. He’s clearly ahead of everyone; Wonderful hollow old sound, and great balance. Dedain sounds good but a little compressed, not great balance. Hartig:If he makes his guitars less bright, they’d be better. Hanika: I’m not a fan… at all. Turkowiak: an ok guitar; very nice opened six string but the sound isn’t all that beautiful. A Plazuelo next time perhaps? Maybe a Bortolozzo as well? Ciao
Definitely the FIRST, Italian one.
"There is something special"
You are correct
I really like Karel Dedain's guitars and that would be my top choice for this week.
When can't find a good description of the sound: "this guitar sounds very special..." lmao. I think the guitars in this episode represent the trend of modern guitar sound: bright, fast, and a bit nasal. My preference this week is the Devoto. Thank you again!
Hola soy Lucas Sanchez Gomis,saludos Desde Argentina Rosario.
This series really is getting better and better. Thanks for your hard work! My request: form a relationship with French luthier Bastien Burlot and introduce his Alkemia guitars to a much wider audience!
Absolutely! It is very sad to see him stop making guitar!
In this batch guitars, Devoto is the only one with spruce’s characteristic clear tone, the others all have, to a different degree, an amplified bass sound like Double top guitars. So depending on your personal taste, you’ll pick different winner. I have been following this series and noticed the progress you have made. Here is something I like to see more. I understand that at your position, you need to be diplomatic when you find some imperfections in the guitars you are comparing, but it shouldn’t stop you from highlighting the strengths of each guitars. Audience rightly expect to hear your opinions backed up by your expertise. So do mention the qualities of each guitar that stand out. This way, audience will sharpen their ears and learn more from your series. Keep up with your good job. 👏👏👏👏👏
I think I'm in love ❤❤😉😁
Very enjoyable again, thank you. I would go with Devoto.
For next week you may want to present one (or more) of your Hernandez y Aguado in stock (maybe even compare them to each other? 🙂) Thanks
What is the loudest guitar you still played ?
What's the name of the song you play? Very beautiful. Please tell me the name of the song you play. Listening to this makes me want to play classical guitar very much.
Fand es prima, dass du einige Begriffe vorgestellt hast, mit denen man den Klang/Verhalten von Gitarren unterscheiden kann. Aber eine für mich sehr wichtige Unterscheidung fehlte. Und zwar die der Ansprache. Das was ich meine, geht aber weit darüber hinaus, ob eine Gitarre eine „gute“ Ansprache hat oder nicht, also ob man mit wenig Energie schon eine größere Lautstärke erzeugen kann. Sondern es geht darum, wie linear ein Spieler das Verhältnis von Kraftaufwand und Lautstärke erlebt. Also wie leicht es ist, die Lautstärke zu kontrollieren. Wenigsten für mich als Laienspieler ist das ein entscheidender Unterschied, der einen großen Einfluss darauf hat, ob es mir Spaß macht auf der Gitarre zu spielen oder nicht. Vielleicht ist das mit zunehmendem Können nicht so wichtig, da dann der Spieler andere Möglichkeiten hat sich an das Instrument anzupassen. Aber ein Spieler mit meinen Möglichkeiten sucht sich besser ein „passendes“ Instrument, wo das Verhältnis von Kraftaufwand und Lautstärke als natürlich erlebt wird. Nun könntest du einwenden, dass diese Unterscheidung dann für ein Review ganz unerheblich ist, wenn so individuell. Naja, ums Ausprobieren wird man nicht herumkommen. Trotzdem kann man versuchen eine Gitarre in dieser Dimension zu beurteilen. Konkret fände ich z.B. folgende Demonstration hilfreich: In 3 oder 4 verschiedenen Lagen einen Ton spielen. Mit sehr leichtem Anschlag beginnen und die Stärke langsam erhöhen. Am besten, ohne die Gitarre selbst dabei zu hören, damit man der Spieler keine Möglichkeit hat sich an das Instrument anzupassen. „Einfach“ in der Lautstärke zu kontrollierende Gitarren wird man vermutlich durch einen solchen Test erkennen können, da der Lautstärkeentwicklung linearer verläuft.
Top! Thank you for this comment. Whatsappje kind of strings do you use? Knobloch?
Yes, we use Knobloch Carbon strings on our guitars.
Are you allowed to be honest and be a little bit critical about some imperfections, or you afraid to hurt luthiers’ feelings?
Is the Devoto guitar a parlor guitar? It has a smaller body with big sound.
That Schubert sounds nearly the same on all the guitars he plays from the perspective of listening on youtube. I'm sure they sound slightly different in person. But consider it's the same exact notes played by the same player using the same instrument type (classical). I would expect the sound to be pretty close. The only difference I've noticed is usually the "depth" or "sustain" can vary through my cheap speakers. I think the type of strings probably has a bigger impact on the sound than the type of classical guitar. Perhaps tonewoods make it a little darker or brighter. Honestly I bet the strings are a bigger factor in how the listener hears the song unless they are a trained musician.
I always thought of tone separation as the notes sounds as the single frequency
Sorry, my sentence got cut off by accident.
I always thought of tone separation as notes sounding as the single frequency they represent and not containing other frequencies excluding their overtones. Also that a note is what it is supposed to be, i.e. an E is an E and not a not closer towards F. Hearing all the notes when you play and chord is a volume/hearing issue. Am I misinterpreting the definition of clarity?
You are absolutely spot on when you say "the notes sounding as the single frequency and not containing other frequencies excluding their overtones". I just tried to explain the same thing with a more easier example to understand. But I would say "an E is an E and not a not closer towards F" is more a matter of intonation. Thanks for your comment Behrooz
Adriano Devoto OR Matthias Hartig !
Devoto first, no debate. He’s clearly ahead of everyone; Wonderful hollow old sound, and great balance. Dedain sounds good but a little compressed, not great balance. Hartig:If he makes his guitars less bright, they’d be better. Hanika: I’m not a fan… at all. Turkowiak: an ok guitar; very nice opened six string but the sound isn’t all that beautiful. A Plazuelo next time perhaps? Maybe a Bortolozzo as well? Ciao