{My guitar article sites.google.com/view/new-definition-flamenco-guitar } Amazingly enough, Paco himself seemed also unfulfilled with traditional guitars as you can read from the following interview in 2013 (question n. 5, see this link goo.gl/8DSghE ) Interviewer- Which is your main guitar? A: Paco de Lucia: "...I have many different guitars and some are nice ones actually (I guess he meant his Santos, Barberos etc) but I always have this one with me, it's like living with a woman who you don't really like much. Because I really don't like so much this guitar, but I know how it will respond on stage so, there is a saying "best-known evil than an unknown good" and that applies here. In fact, at home this guitar I feel it is rough and hard to play. When I'm relaxed at my place I can't play this guitar at all... but when adrenaline is there (on the stage) I need a certain tension or pulsation which I have to get used to, and that's why I use this guitar to play on the stage. (in the following video you can also see Paco himself saying again a similar thing bit.ly/2YVx13Q ) Simplicio and his innovative idea (a separate double sound port for the top) It was around 1929 that our Stradivarius "The Stradivari of Spain" greatest Spanish luthier (born in Barcelona bit.ly/2LTS96A ) Mr. Francisco Simplicio 1874-1933. harrisguitarfoundation.org/francisco-simplicio/ He presented to the world nine very peculiar guitars, all of them of a new design with a top like this, andalusianguitars.com/FS1932-11-26.html shaping the way for a fully renovated kind of Spanish guitar never seen before. www.themomi.org/museum/mfa/popular_guitars/1929-30_F_Simplicio.html (Simplicio was also an expert in traditional guitar making and during his life. He produced about 340 instruments ) The universality of Simplicio's design applied to the newest flamenco guitars, as it has been skillfully explored from many angles since 2015 by the creative master luthiers of AG. andalusianguitars.com/aboutAG.html It represents a sublime redefinition of the modern flamenco guitar as an instrument, one that offers many tangible bonuses to anyone who plays a nylon string guitar, no matter which style he plays, as well as for the modern flamenco guitar player. bit.ly/2xLZf59 After about 18 years of intense collaboration with AG as a trusted advisor in their projects, (I still feel honored that Paco himself appointed me for that task) the truth is that AG has created a new concept of playability, envisioning a guitar with unparalleled exactness in tuning and design for the comfort of the player. In AG, the challenge during the research period was to create a guitar which could reduce the difficulties naturally there in every traditional guitar, inconsistencies which are too often taken for granted as "normal things". "Normal"? Yes, for those who don't know and choose the same of the same feel, every time - and typical design of traditional flamenco guitars. In my opinion the centered sound whole concept together with the "traditional guitar design" representative of the Madrid school of guitar making, bit.ly/2NVhnUP has many obsolete features which remained unchanged. Unchanged, certainly not to help the player, but to please the minds of those who belong to the "cult of the tradition," a cult of fellows sentimentally over attached to outdated guitar design, a design that has not been questioned or revisited for more than 100 years. 100+ years without even asking why is it so? Unfortunately, many flamenco players at present are so acclimatized to those archaic features there, that they can't see bit.ly/2LRn5EI how all those inadequacies inherent in the traditional design, may be obstacles to themselves to play efficiently and with ease. To me, the Madrid school of guitar making is totally out-of-date. Such guitars would be ok if one likes a masochistic feel of playing, forced to deal with constant problems and hindrances one after the other. As Paco use to say that some guys like to play just to be "beaten by their guitars". Therefore if anyone enjoys that, I have no problem with it, but this is not my case, how it could be? I consider myself fortunate to have listened to Paco's uncensored advice and many of his esoteric concepts about playability and guitars. He told me many things which he would never say publicly nor tell anyone else about. Admiring him, as I still do, I trusted his points of view and all that helped, directly and indirectly, to bring about this new concept of flamenco guitar making we have at present, with guitars like these bit.ly/2JyGLeW Performing with efficiency is already difficult sometimes, and, if the design of a guitar does not help the player, I can't see what the gain is? To me, performing in such a constricted space is like playing with a pair of handcuffs on, having less and fewer possibilities to succeed over difficult passages of music. bit.ly/2OatqOv And if that was not enough, one also has to deal with those innate handicaps regarding the sound delivery aspect which is very limited by the unidirectional way that traditional guitars can offer, is important to be aware of the fact that such restrictions will be there even in the best traditional flamenco guitars bit.ly/30yfCOQ On the other hand, Simplicio noticed several serious disadvantages in traditional sound hole placement, as he thought that it unavoidably weakens the guitar top in a very crucial area and also causes a huge reduction of the sound emitting surface on the top. (Huber, J.: The Development of the Modern Guitar, Westport, 1994, p.27) While an increased sound emitting surface would also improve the sound emitting platform in the bass range area (Stark, D.: Diplomarbeit - Entwurf und Bau einer Konzertgitarre mit doppelter Decke in Sandwichbauweise, Weimar, 2006, p.6) Influence on the sound: By omitting the centered sound hole and instead positioning it in a doubled manner, both sides of the fingerboard as you can see here, andalusianguitars.com/FS1929-21-23.html leads to an enlarged vibrating surface of the top (sometimes due to the ratio between top length or width and top thickness) and with that, it is possible to: A) Attain the same degree of flexibility of the top as in a traditional guitar, but getting a higher "mass" of the top, which also leads to a better sustain without any loss of "attack" and responsiveness. B) Keep a more flexible top than that of a traditional guitar, while maintaining the same mass of the top which is conducive to an increase in volume and responsiveness without any loss of sustain. C) Apart from those considerable advantages there, the Helmholtz frequency polettipiano.com/Pages/airresengpaul.html can also be significantly lowered, which in turn has an impact in the tonal character of the instrument. Same advantages are also there for: D) The AG Simplicio 1929 model andalusianguitars.com/FS1932-2-shinglewood-hayab-%20cherryf-jacaranda-orangenat-11.html as well as for its asymmetrical derivations: E) A Picasso cutaway design andalusianguitars.com/FS1929-36-14.html F) Double cutaway design andalusianguitars.com/FS1932-7-11.html G) The expanded treble sound hole andalusianguitars.com/FS1932-9-13.htm
Thank you Ruben for this information! I also wondered why the 2nd string was loose compared to the1st string.It's so amazing how much Paco did and new with the flamenco guitar.I am always great full of the information that you have given me.
I like your video . Blind people know how to listen . I made guitars many years , saw many people . People use the eyes to buy the guitar , and many who play do not pay attention , to learn to listen . In the West , we have Primacy of the Eyes , in the East , it is more Primacy of the Ear .
I agree friend. Thats what I said in `Learning from mistakes...without having an iota about how does a mistake look´s like ruclips.net/video/hv01ERKMmKQ/видео.htmlm25s Regards
The LaBella 820 flamenco string set with black or red nylon trebles that Juan Serrano uses already has a .034 ["extra hard tension"] B string, & is probably one of the heaviest B strings in classical & flamenco sets. An average "extra hard tension" B is usually around .0333 - .0335 so for the 820 set to have a .034 with the high E at .029 you can feel the difference going from string to string. There is a closer tension between the 2 but then there is also the gauge thickness feel aspect, so it depends on what you like or how it sounds. The Aquila nylgut alabastro sets have higher tension B strings also. I've experimented with all these strings & they're all good & also depends on the guitar & it's set up, action & saddle angle plays a role in this. I'm not a flamenco purist & use more of a classical string height with classical strings. Probably because that's what I've played longer & what was available & just got used to it. Even when I went thru a period where I was trying different individual gauges from different brands mixed & matched, or when I tried different fishing line of different types of nylon & even fluorocarbon fishing lines mixed with various bass strings from different brands I eventually returned to a company's set. One day I needed new basses & went to a local store where I bought them individually, they were out of the gauge I needed so I bought a set that had that gauge & was just gonna pull that one string out & maybe use the other strings for other guitars with different tunings if possible, or give em away or whatever. Then when I was gonna restring the guitar I realized I was also out of the fishing line treble gauge... so I decided to just restring the whole guitar with the company set. At first I was readjusting to the feel because I was used to all my different experimental sets but then after awhile I was preferring the company's gauge choices... so I then reembarked on playing around with various company's varieties & figured out what I actually prefer overall. I think many people have played around with gauges & especially the string companies who in my opinion have it figured out & basically perfected with the help of actually many professional players with experimentation & suggestion. I don't think people need to mix & match individual strings from different sets or brands anymore, these companies already have so many variations of their strings that if one experiments & tries enough products they'll surely find the right gauge, packaged already, at least for a particular guitar.
Thanks for your comment. The purpose of this video was to reveal Paco’s ideas about the unbalanced tension on the 2th string in all sets, and I haven’t seen one set even on what he pointed out there, but it may happen one day hopefully. Paco said that each brand has one best string which is suitable for an specific guitar only ruclips.net/video/_okEnOdUYLc/видео.html in fact on his advice we do use from 4 to 6 brands of strings to create one set ruclips.net/video/xrI9CFvXw5A/видео.htmlm16s As string brands in time fluctuate regarding quality, durability, tuning capacity etc, it is difficult to settle fix tips for what it is convenient at a certain moment , not to mention the fact that without the guitar in my hands I couldn’t tell anyone a super precise advise. I remember in the 80s when Savarez bass set was most of the time Paco’s preference for his recordings on certain guitars he used like Barbero 1948 and Some Arcangel guitars etc, but that soon changed in the 90s and so forth. It’s a complex topic, I already bought so many and still I am searching for better. RegardsRuben
Excellent explanation and observations. It tooks me many years to learn physics of guitar setting. I also use sometimes one string higher tension , mostly the fifth and it brings better balance of the guitar top vibration. Sometimes just using a fresh fifth strings ( or reverse old string) awaking guitar immediately bringing some brisky voicing. I also noticed on using ebony nut I am able to increase action ( paper thickness)on nut. I know it sounding maybe inappropriate but wooden saddle or nut is providing more control on hands, thicker rounder and softer ton. Moreover , using a capo it will allow me to play traditional songs ( style of Paco Pena, Sabicas) and be able to get my right hand fingers controlling and dominating over strings for right amount strings of push or pull. However, the increase action on nut is not recommended for playing fast techniques without capo. I am wondering if you have some experience advices about this topic. I like to play traditional flamenco and some modern style but I noticed that one guitar setting can not serve that needs. I noticed that guitar construction must be very light with balanced body in order serve both needs at some degree. I noticed that is very important to get the best action on the bridge, between bridge and sound hole , 12 fret, and nut in order to bring the best from already balanced guitar. I would appreciate you share some of your experience or if you have any tips on guitar construction designed primarily for capo users. Next time I would like we discuss the guitar finish ( back and side versus top) in order to bring the best voicing and hand touch guitar respond ( cedar top versus spruce ). i admire your knowledge and interest to share your experience and there are so much I like to talk about. Zoran
Thanks for your comment Zoran. Any left hand saddle even wooden ones cant give you even tone when strings are played al aire (open strings ) thats why AG implemented zero fret andalusianguitars.com/FS1932-2-shinglewood-hayab-%20cherryf-jacaranda-orangenat-15.html See also 21 features out of the box on AG Simplicio ruclips.net/video/LaZ4mcFKtVQ/видео.htmlm To me the "traditional" center-sound hole concept all together is obsolete ruclips.net/video/9fe-4sl8hCc/видео.htmlm4s Regarding action and pulsacion, when the settings are proper with a without capo all are same playable, see here ruclips.net/video/T5grenEYuCA/видео.htmlm16s References to the history of the double sound hole on the top Guitar made around 1929 by Francisco Simplicio www.themomi.org/museum/mfa/popular_guitars/1929-30_F_Simplicio.html Simplicio noticed a disadvantage of the traditional sound hole position in the weakening of the guitar top in a crucial area and also in a reduction of the sound emitting surface of the top (Huber, J.: The Development of the Modern Guitar, Westport, 1994, p.27). The increased sound emitting surface should also improve the sound emitting in the bass range (Stark, D.: Diplomarbeit - Entwurf und Bau einer Konzertgitarre mit doppelter Decke in Sandwichbauweise, Weimar, 2006, p.6) Impact on the sound: Omitting the sound hole or positioning it on both sides of the fingerboard leads to an enlarged vibrating surface of the top. Cue to the ratio between top length or width and top thickness, it is possible to: - attain the same degree of flexibility of the top as in a traditional guitar, but obtaining a higher mass of the top (this leads to a better sustain without the loss of attack and responsiveness) - attain a more flexible top than on a traditional guitar, but maintaining the same mass of the top (this leads to increased loudness and responsiveness without the loss of sustain). In addition, the Helmholtz frequency polettipiano.com/Pages/airresengpaul.html can be lowered significantly, which in turn has an impact on the tonal character of the instrument. This is the newest thing in AG The Antithesis of the Obsolete. Simplicio II 1) Design andalusianguitars.com/FS1929-33-14.html 2) Top andalusianguitars.com/FS1929-33-3.html 3) Back and sides andalusianguitars.com/FS1929-33-23.html 4) Design II andalusianguitars.com/FS1929-33-11.html 5) Rosette andalusianguitars.com/FS1929-33-25.html 6) Flamed Maple neck andalusianguitars.com/FS1929-33-20.html 7) Bridge andalusianguitars.com/FS1929-33-26.html 8. Sound portal andalusianguitars.com/FS1929-33-12.html 9) Internal construction andalusianguitars.com/FS1929-33-2.html 10) Zero fret andalusianguitars.com/FS1929-33-17.html 11) Action andalusianguitars.com/FS1929-33-5.html 12) Double Fretboard andalusianguitars.com/FS1929-33-8.html Simplicio 1929k-II New ruclips.net/video/n2bQjcaj2Cg/видео.html Red Cedar top Simplicio 1929-II ruclips.net/video/D-wop1bkTeo/видео.htmlm45s Regards
One question if you used high tension on the second strings have to have the same tension i'e.normal or medium tension? the other about the knots on the bridge I didnt quite get that part..can you show maybe in another video how you knot it? thanks
Yes Daniel, See here the strings strung on the bridge 1) andalusianguitars.com/FS1929special-4-shinglewood-hayab-eyebirdsf-bahia-natural-6.html 2) andalusianguitars.com/FS1929special-9-shinglewood-cherryb-cherryf-kingwood-rednat-6.html Here is a video about that ruclips.net/video/SnUYME_j1XM/видео.html Regarding the Strings Paco used only 2th Extra-high tension the rest depending on which one of his guitars ruclips.net/video/RLj2gz-eMGM/видео.htmlm32s was generally mid tension Regards
Thanks for your comment Bruce. We use 4 to 6 brands of strings for combinations ruclips.net/video/xrI9CFvXw5A/видео.htmlm16s see, each brand has one best string which is suitable for an specific guitar ruclips.net/video/_okEnOdUYLc/видео.html
Listen this three bulerias here Marian "En Ti Confío" Bulerias ruclips.net/video/uPGvC41CbaA/видео.html De Lucia´s homage www.rdiaz.org/rdmagazine99.html#video-2 Buleria Street www.rdiaz.org/rdmagazine102.html#video-1 Regards
Dear dr. Ruben. I saw a totally different side of your playing with that blind fold on. It was very good. This makes me think of many possibilities with my own skill. Jesse Vancouver, BC.
{My guitar article sites.google.com/view/new-definition-flamenco-guitar }
Amazingly enough, Paco himself seemed also unfulfilled with traditional guitars as you can read from the following interview in 2013 (question n. 5, see this link goo.gl/8DSghE )
Interviewer- Which is your main guitar?
A: Paco de Lucia: "...I have many different guitars and some are nice ones actually (I guess he meant his Santos, Barberos etc) but I always have this one with me, it's like living with a woman who you don't really like much. Because I really don't like so much this guitar, but I know how it will respond on stage so, there is a saying "best-known evil than an unknown good" and that applies here. In fact, at home this guitar I feel it is rough and hard to play. When I'm relaxed at my place I can't play this guitar at all... but when adrenaline is there (on the stage) I need a certain tension or pulsation which I have to get used to, and that's why I use this guitar to play on the stage. (in the following video you can also see Paco himself saying again a similar thing bit.ly/2YVx13Q )
Simplicio and his innovative idea (a separate double sound port for the top)
It was around 1929 that our Stradivarius "The Stradivari of Spain" greatest Spanish luthier (born in Barcelona bit.ly/2LTS96A ) Mr. Francisco Simplicio 1874-1933. harrisguitarfoundation.org/francisco-simplicio/ He presented to the world nine very peculiar guitars, all of them of a new design with a top like this, andalusianguitars.com/FS1932-11-26.html shaping the way for a fully renovated kind of Spanish guitar never seen before. www.themomi.org/museum/mfa/popular_guitars/1929-30_F_Simplicio.html (Simplicio was also an expert in traditional guitar making and during his life. He produced about 340 instruments )
The universality of Simplicio's design applied to the newest flamenco guitars, as it has been skillfully explored from many angles since 2015 by the creative master luthiers of AG. andalusianguitars.com/aboutAG.html It represents a sublime redefinition of the modern flamenco guitar as an instrument, one that offers many tangible bonuses to anyone who plays a nylon string guitar, no matter which style he plays, as well as for the modern flamenco guitar player. bit.ly/2xLZf59 After about 18 years of intense collaboration with AG as a trusted advisor in their projects, (I still feel honored that Paco himself appointed me for that task) the truth is that AG has created a new concept of playability, envisioning a guitar with unparalleled exactness in tuning and design for the comfort of the player.
In AG, the challenge during the research period was to create a guitar which could reduce the difficulties naturally there in every traditional guitar, inconsistencies which are too often taken for granted as "normal things". "Normal"? Yes, for those who don't know and choose the same of the same feel, every time - and typical design of traditional flamenco guitars.
In my opinion the centered sound whole concept together with the "traditional guitar design" representative of the Madrid school of guitar making, bit.ly/2NVhnUP has many obsolete features which remained unchanged. Unchanged, certainly not to help the player, but to please the minds of those who belong to the "cult of the tradition," a cult of fellows sentimentally over attached to outdated guitar design, a design that has not been questioned or revisited for more than 100 years. 100+ years without even asking why is it so? Unfortunately, many flamenco players at present are so acclimatized to those archaic features there, that they can't see bit.ly/2LRn5EI how all those inadequacies inherent in the traditional design, may be obstacles to themselves to play efficiently and with ease.
To me, the Madrid school of guitar making is totally out-of-date. Such guitars would be ok if one likes a masochistic feel of playing, forced to deal with constant problems and hindrances one after the other. As Paco use to say that some guys like to play just to be "beaten by their guitars". Therefore if anyone enjoys that, I have no problem with it, but this is not my case, how it could be? I consider myself fortunate to have listened to Paco's uncensored advice and many of his esoteric concepts about playability and guitars. He told me many things which he would never say publicly nor tell anyone else about. Admiring him, as I still do, I trusted his points of view and all that helped, directly and indirectly, to bring about this new concept of flamenco guitar making we have at present, with guitars like these bit.ly/2JyGLeW
Performing with efficiency is already difficult sometimes, and, if the design of a guitar does not help the player, I can't see what the gain is?
To me, performing in such a constricted space is like playing with a pair of handcuffs on, having less and fewer possibilities to succeed over difficult passages of music. bit.ly/2OatqOv And if that was not enough, one also has to deal with those innate handicaps regarding the sound delivery aspect which is very limited by the unidirectional way that traditional guitars can offer, is important to be aware of the fact that such restrictions will be there even in the best traditional flamenco guitars bit.ly/30yfCOQ
On the other hand, Simplicio noticed several serious disadvantages in traditional sound hole placement, as he thought that it unavoidably weakens the guitar top in a very crucial area and also causes a huge reduction of the sound emitting surface on the top. (Huber, J.: The Development of the Modern Guitar, Westport, 1994, p.27) While an increased sound emitting surface would also improve the sound emitting platform in the bass range area (Stark, D.: Diplomarbeit - Entwurf und Bau einer Konzertgitarre mit doppelter Decke in Sandwichbauweise, Weimar, 2006, p.6)
Influence on the sound:
By omitting the centered sound hole and instead positioning it in a doubled manner, both sides of the fingerboard as you can see here, andalusianguitars.com/FS1929-21-23.html leads to an enlarged vibrating surface of the top (sometimes due to the ratio between top length or width and top thickness) and with that, it is possible to:
A) Attain the same degree of flexibility of the top as in a traditional guitar, but getting a higher "mass" of the top, which also leads to a better sustain without any loss of "attack" and responsiveness.
B) Keep a more flexible top than that of a traditional guitar, while maintaining the same mass of the top which is conducive to an increase in volume and responsiveness without any loss of sustain.
C) Apart from those considerable advantages there, the Helmholtz frequency polettipiano.com/Pages/airresengpaul.html can also be significantly lowered, which in turn has an impact in the tonal character of the instrument.
Same advantages are also there for:
D) The AG Simplicio 1929 model andalusianguitars.com/FS1932-2-shinglewood-hayab-%20cherryf-jacaranda-orangenat-11.html
as well as for its asymmetrical derivations:
E) A Picasso cutaway design andalusianguitars.com/FS1929-36-14.html
F) Double cutaway design andalusianguitars.com/FS1932-7-11.html
G) The expanded treble sound hole andalusianguitars.com/FS1932-9-13.htm
Amazing playing, glad that I stumbled upon your videos. Much thanks!
Thank you Ruben for this information! I also wondered why the 2nd string was loose compared to the1st string.It's so amazing how much Paco did and new with the flamenco guitar.I am always great full of the information that you have given me.
can i use low tension for high E instead of high tension for B ?
Good question!, the thing is that 1st strings are much less unbalanced in tension compared to the 2ths
I like your video .
Blind people know how to listen . I made guitars many years , saw many people . People use the eyes to buy the guitar , and many who play do not pay attention , to learn to listen . In the West , we have Primacy of the Eyes , in the East , it is more Primacy of the Ear .
You are right, in music ear is what matters,
next is Staring at the fretboard Vs Owning it
ruclips.net/video/qcsLaSaxNs8/видео.html
Regards
With people who think they know how to listen , it is like a 'foreign concept ' . I introduce the idea gently , so they will not be offended .
I agree friend. Thats what I said in `Learning from mistakes...without having an iota about how does a mistake look´s like ruclips.net/video/hv01ERKMmKQ/видео.htmlm25s
Regards
First Last I'll just say that i put a Microphone pick up in a full body guitar because the cut away gave me less sound
The LaBella 820 flamenco string set with black or red nylon trebles that Juan Serrano uses already has a .034 ["extra hard tension"] B string, & is probably one of the heaviest B strings in classical & flamenco sets. An average "extra hard tension" B is usually around .0333 - .0335 so for the 820 set to have a .034 with the high E at .029 you can feel the difference going from string to string. There is a closer tension between the 2 but then there is also the gauge thickness feel aspect, so it depends on what you like or how it sounds. The Aquila nylgut alabastro sets have higher tension B strings also. I've experimented with all these strings & they're all good & also depends on the guitar & it's set up, action & saddle angle plays a role in this. I'm not a flamenco purist & use more of a classical string height with classical strings. Probably because that's what I've played longer & what was available & just got used to it. Even when I went thru a period where I was trying different individual gauges from different brands mixed & matched, or when I tried different fishing line of different types of nylon & even fluorocarbon fishing lines mixed with various bass strings from different brands I eventually returned to a company's set.
One day I needed new basses & went to a local store where I bought them individually, they were out of the gauge I needed so I bought a set that had that gauge & was just gonna pull that one string out & maybe use the other strings for other guitars with different tunings if possible, or give em away or whatever. Then when I was gonna restring the guitar I realized I was also out of the fishing line treble gauge... so I decided to just restring the whole guitar with the company set. At first I was readjusting to the feel because I was used to all my different experimental sets but then after awhile I was preferring the company's gauge choices... so I then reembarked on playing around with various company's varieties & figured out what I actually prefer overall.
I think many people have played around with gauges & especially the string companies who in my opinion have it figured out & basically perfected with the help of actually many professional players with experimentation & suggestion. I don't think people need to mix & match individual strings from different sets or brands anymore, these companies already have so many variations of their strings that if one experiments & tries enough products they'll surely find the right gauge, packaged already, at least for a particular guitar.
Thanks for your comment.
The purpose of this video was to reveal Paco’s ideas about the
unbalanced tension on the 2th string in all sets, and I haven’t seen one set even on what he pointed out there, but it may happen one day hopefully. Paco said that each brand has one best string which is suitable for an specific guitar only ruclips.net/video/_okEnOdUYLc/видео.html
in fact on his advice we do use from 4 to 6 brands of
strings to create one set ruclips.net/video/xrI9CFvXw5A/видео.htmlm16s
As string brands in time fluctuate regarding quality, durability, tuning capacity etc, it is difficult to settle fix tips for what it is convenient at a certain moment , not to mention the fact that without the guitar in my hands I couldn’t tell anyone a super precise advise.
I remember in the 80s when Savarez bass set was most of the
time Paco’s preference for his recordings on certain guitars he used like
Barbero 1948 and Some Arcangel guitars etc, but that soon changed in the 90s and so forth.
It’s a complex topic, I already bought so many and still I
am searching for better.
RegardsRuben
Other compositions:
1 ruclips.net/video/uPGvC41CbaA/видео.html "En Ti Confío" Bulerias
2 ruclips.net/video/tTv7GWozkj4/видео.html "3 Gitanos" Buleria
3 ruclips.net/video/7w1szT2JRhE/видео.html "Buleria Street"
4 ruclips.net/video/UrMF_XDhiLw/видео.html "Tú eres la estrella "
5 ruclips.net/video/5Q8StYDnUGo/видео.html "Por Derecho" Buleria Calo
Excellent explanation and observations. It tooks me many years to learn physics of guitar setting. I also use sometimes one string higher tension , mostly the fifth and it brings better balance of the guitar top vibration. Sometimes just using a fresh fifth strings ( or reverse old string) awaking guitar immediately bringing some brisky voicing. I also noticed on using ebony nut I am able to increase action ( paper thickness)on nut. I know it sounding maybe inappropriate but wooden saddle or nut is providing more control on hands, thicker rounder and softer ton. Moreover , using a capo it will allow me to play traditional songs ( style of Paco Pena, Sabicas) and be able to get my right hand fingers controlling and dominating over strings for right amount strings of push or pull. However, the increase action on nut is not recommended for playing fast techniques without capo. I am wondering if you have some experience advices about this topic. I like to play traditional flamenco and some modern style but I noticed that one guitar setting can not serve that needs. I noticed that guitar construction must be very light with balanced body in order serve both needs at some degree. I noticed that is very important to get the best action on the bridge, between bridge and sound hole , 12 fret, and nut in order to bring the best from already balanced guitar. I would appreciate you share some of your experience or if you have any tips on guitar construction designed primarily for capo users. Next time I would like we discuss the guitar finish ( back and side versus top) in order to bring the best voicing and hand touch guitar respond ( cedar top versus spruce ). i admire your knowledge and interest to share your experience and there are so much I like to talk about.
Zoran
Thanks for your comment Zoran.
Any left hand saddle even wooden ones cant give you even tone when strings are played al aire (open strings ) thats why AG implemented zero fret
andalusianguitars.com/FS1932-2-shinglewood-hayab-%20cherryf-jacaranda-orangenat-15.html
See also 21 features out of the box on AG Simplicio
ruclips.net/video/LaZ4mcFKtVQ/видео.htmlm
To me the "traditional" center-sound hole concept all together is obsolete ruclips.net/video/9fe-4sl8hCc/видео.htmlm4s
Regarding action and pulsacion, when the settings are proper with a without capo all are same playable, see here ruclips.net/video/T5grenEYuCA/видео.htmlm16s
References to the history of the double sound hole on the top
Guitar made around 1929 by Francisco Simplicio
www.themomi.org/museum/mfa/popular_guitars/1929-30_F_Simplicio.html
Simplicio noticed a disadvantage of the traditional sound hole position in the weakening of the guitar top in a crucial area and also in a reduction of the sound emitting surface of the top (Huber, J.: The Development of the Modern Guitar, Westport, 1994, p.27). The increased sound emitting surface should also improve the sound emitting in the bass range (Stark, D.: Diplomarbeit - Entwurf und Bau einer Konzertgitarre mit doppelter Decke in Sandwichbauweise, Weimar, 2006, p.6)
Impact on the sound:
Omitting the sound hole or positioning it on both sides of the fingerboard leads to an enlarged vibrating surface of the top. Cue to the ratio between top length or width and top thickness, it is possible to:
- attain the same degree of flexibility of the top as in a traditional guitar, but obtaining a higher mass of the top (this leads to a better sustain without the loss of attack and responsiveness)
- attain a more flexible top than on a traditional guitar, but maintaining the same mass of the top (this leads to increased loudness and responsiveness without the loss of sustain).
In addition, the Helmholtz frequency polettipiano.com/Pages/airresengpaul.html
can be lowered significantly, which in turn has an impact on the tonal character of the instrument.
This is the newest thing in AG
The Antithesis of the Obsolete.
Simplicio II
1) Design andalusianguitars.com/FS1929-33-14.html
2) Top andalusianguitars.com/FS1929-33-3.html
3) Back and sides andalusianguitars.com/FS1929-33-23.html
4) Design II andalusianguitars.com/FS1929-33-11.html
5) Rosette andalusianguitars.com/FS1929-33-25.html
6) Flamed Maple neck andalusianguitars.com/FS1929-33-20.html
7) Bridge andalusianguitars.com/FS1929-33-26.html
8. Sound portal andalusianguitars.com/FS1929-33-12.html
9) Internal construction andalusianguitars.com/FS1929-33-2.html
10) Zero fret andalusianguitars.com/FS1929-33-17.html
11) Action andalusianguitars.com/FS1929-33-5.html
12) Double Fretboard andalusianguitars.com/FS1929-33-8.html
Simplicio 1929k-II New
ruclips.net/video/n2bQjcaj2Cg/видео.html
Red Cedar top Simplicio 1929-II
ruclips.net/video/D-wop1bkTeo/видео.htmlm45s
Regards
thank you for providing a lot of materials to understand better a whole concept of flamenco guitar construction.
One question if you used high tension on the second strings have to have the same tension i'e.normal or medium tension?
the other about the knots on the bridge I didnt quite get that part..can you show maybe in another video how you knot it?
thanks
Yes Daniel, See here the strings strung on the bridge
1) andalusianguitars.com/FS1929special-4-shinglewood-hayab-eyebirdsf-bahia-natural-6.html
2) andalusianguitars.com/FS1929special-9-shinglewood-cherryb-cherryf-kingwood-rednat-6.html
Here is a video about that
ruclips.net/video/SnUYME_j1XM/видео.html
Regarding the Strings Paco used only 2th Extra-high tension the rest depending on which one of his guitars ruclips.net/video/RLj2gz-eMGM/видео.htmlm32s was generally mid tension
Regards
Do you have an opinion on "String Ties", so that you can alter string tension for 6 hole bridges?
I use high tension D string (Luthier 30 ) with normal tension Sevarez Set because the D of the Savarez is gone in a week and has a thin sound
Thanks for your comment Bruce. We use 4 to 6 brands of strings for combinations ruclips.net/video/xrI9CFvXw5A/видео.htmlm16s
see, each brand has one best string which is suitable for an specific guitar
ruclips.net/video/_okEnOdUYLc/видео.html
Woow! Thanks..
Superb Ruben)
Este buleria es grande)
Listen this three bulerias here Marian "En Ti Confío" Bulerias ruclips.net/video/uPGvC41CbaA/видео.html
De Lucia´s homage www.rdiaz.org/rdmagazine99.html#video-2
Buleria Street www.rdiaz.org/rdmagazine102.html#video-1
Regards
Ruben Diaz Flamenco Guitar thanx for your efforts .we also play Pacos compositions. I find i wiould like to learn from yoy) regards Marco.
You are welcome on Skype any time
this is how it works ruclips.net/video/_SKUxTg1u9g/видео.html
Super fort ruben
una cuerda de cada marca!!! que friki!!!
Dear dr. Ruben.
I saw a totally different side of your playing with that blind fold on. It was very good. This makes me think of many possibilities with my own skill.
Jesse
Vancouver, BC.
Best wishes dear Jesse, about that I explained in Staring at the fretboard Vs Owning it ruclips.net/video/qcsLaSaxNs8/видео.html
oleee
You don't need for your entire buddy to play a sound, you just need to use your fingers
Yes, you should also tell that to Keith Jarret ruclips.net/video/gJOPahb8TkE/видео.html you advise will be even more useful for him.
The Rule of Paco : 5:31
СпасибО!!!!!!!!!!!!!!!!!!
Спасибо за ваш комментарий, и помните, что мой канал RUclips есть, чтобы вдохновить вас ruclips.net/video/QF9tudNdts0/видео.html
Si Alex mi interes es compartir goo.gl/TVhSwm
???
ole!
you are insane! lol