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Well after a 15-month wait, John Buscarino delivered my Cabaret today. One can never pick the day a guitar arrives and mine is arriving on the cusp of a short vacation so alas, my playing time is limited...
My initial impressions are very positive. The fit and finish is no one's surprise as good as it gets in custom lutherie. The guitar feels at home in my hands with a great neck profile and is set up to play like butter. The guitar has thick, present trebles and a nice amount of sustain for a nylon string.
The guitar has a 25-1/2" (648 mm) scale, 1-15/16" nut (49.2 mm), Carpathian Spruce top, oval sound hole, Honduran Rosewood body, Honduran Mahogany neck, Gaboon Ebony fingerboard and stainless steel frets. It is a heavy guitar for its side due to the density of the Honduran Rosewood and the thickness of the carved back.
The headplate veneer is Brazilian Rosewood and the tuners are Rodgers with Snakewood buttons.
The binding in Birdseye Sugar Maple and it has a sound port. The rosette in Snakewood, Maple and Abalone. The bridge is Brazilian Rosewood with a Barbera Soloist transducer as a saddle.
More when I return and can plait a bit more...
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08-27-2015 06:34 PM
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I have lusted for one of those. Congrats! From what I have heard, a finer nylon string jazz guitar cannot be had. Tell us more!!!
Cheers,
Marc
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Nice...i've been playing almost all nylon string the last week or two, so seeing this...ooh...yeah...
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Thanks for the kind words and well wishes...
Ironically, After work today involved pre-vacation chores and packing ahead of a long weekend vacation. I was able to open it, take some photos, tune it up and play a few tunes at lunch. I really need to take some time to play it a bit more before I should really comment regarding how it sounds. Perhaps A/B it against my classical guitar would be instructive? My initial impression is delight. It is beautiful, plays like a dream and I was quite pleased with its non-amplified sound in terms of the timbre of its trebles. Good trebles on nylon strings are tough to get (so little energy). Perhaps next week I can follow up...
For those of you interested in what's going on under the "hood", I thought that I would share these photos (below). The Carpathian Spruce top is thinned to about 0.090" (2.3 mm) and is braced with a light Red Spruce lattice. The dense, glassy Honduran Rosewood back is carved to about 0.140" (3.6 mm) in the center of the arch and is thinned down to about 0.070" (1.8 mm) in the recurve and at the rims. Honduran Rosewood is very dense and is actually used to make marimbas. The guitar because of this construction is fairly heavy at 4.48 lb. (2032 g). In comparison, my conventional classical which is made from a medium density wood is 3.78 lb. (1715 g).
More next week...
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If you need a babysitter, let me know.
Absolutely world class-beautiful guitar. I just opened my window to see if I could hear it...
pictures are as close as I'll ever get to that guitar..
thanks for sharing.
Joe D
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Superbly proportioned instrument. That oval soundhole is the perfect central focus. Mr. Buscarino is a modern master, to be sure. Play this work of art with great joy and good health!
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Congratulations and enjoy! I played Gene Bertoncini's Buscarino a few years ago and it was a superb instrument. Wonderful neck and outstanding acoustic and amplified sound.
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I hope things start going your way someday. It would be nice to see you step-up the quality of your guitars.
Congrats on an absolutely beautiful guitar! I heard they take a while to break-in. Let me know if you want me to take care of that for you.
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It's really beautiful. It looks like an archtop, gypsy jazz, classical guitar all rolled into one and in a good way. Those Rodgers tuning machines are like men's jewellery :grin: . Top shelf.
Very classy (but what do I know about class?). Looks like a jazzy House of Hermann Hauser guitar.
Can't say enough good things about it. You must have the look of the cat that got the cream.
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Wow, beautiful back, and that headstock!!!
Congrats on a beautiful instrument!
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Congratulations!
I very nearly bought one of these, but ended up getting a Slaman Dome instead. Any plans to upload a sound file or two?
Cheers,
Ben
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That is one lovely guitar. I can't wait to hear how it sounds. Your post inspires me to get out my classical guitar and also gives me serious GAS for one of these. Thanks. Play on, man. Very cool.
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Thanks...
Originally Posted by skykomishone
Next week, I plan on getting some good audition time with my Cabaret. I want to A/B it with my classical guitar. It is a cherry/cedar guitar.
Ergonomically, I already know John's nut width, neck profile and cutaway make the Cabaret more comfortable to play. Sonically, I expect my cedar topped classical to be a bit more responsive and open sounding acoustically. A spruce top on a nylon string takes some playing to open up. I will be particularly curious to compare them in the the timbre of the trebles.
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Amazing guitar. Not familiar with Honduran rosewood. I believe Bolivian Rosewood is Pao Ferro. Does this go by another name? Or was this that small batch of a unique wood they found growing in a secluded grove up a mountainside? (side note: There was a time when Honduran mahogany was taken for granted. That was some time back. Seems I read somewhere that there is an attempt to get it established on some island in the south Pacific with limited success. One of the best tone woods ever.)
I suppose this means you will be disenchanted with some of your other guitars and need to find alternative homes for them at hefty discounts?Last edited by Spook410; 08-28-2015 at 03:09 PM.
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iim7, Beautiful guitar! I'd be interested as to how you feel about the amplified sound, specifically the Barbera pickup. I'm currently looking for a similar guitar and have come down to Kirk Sand Richard Smith, Paul McGill Super Ace nylon or a Cabaret. rob
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Looking forward to your thoughts on the Barbera Soloist which has been on my radar for a long while now. I'm considering a Cocobolo/Swiss Spruce Nylon Crossover build by Steve Holst of Oregon. Originally Posted by iim7V7IM7
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Will do... Originally Posted by Jabberwocky
I actually have had a Barbera Soloist on my Comins Classic Archtop for a while now. I use it with a stereo cable together with my Kent Armstrong 12-pole piece floater. I use both channels of my AI Clarus 2R Series III with my Buscarino Chameleon speaker in acoustic mode. I have a volume control on the guitar for the Barbera (3rd pot seen below) and I find that I need to have it set to at least 50% or I get phasing type problems. Volume is best controlled at the amp. I set the AI channels so the magnetic PU is the primary tone heard. I then adjust up the volume up on the Barbera to get acoustic ambience to the magnetic tone. It sounds very much like what a player hears acoustically but the audience doesn't.
I will try the Cabaret plugged a bit next week. I did not have John install a sound hole volume pot because I view the Cabaret as primarily an acoustic instrument. I wanted the option to plug in. I expect it to be very good but not as good as if it was combined with a mic system. Being directly in contact with the strings, it picks up all the string vibrations and some sympathetic top/bridge vibrations as well. It is definitely better than under saddle systems and requires no batteries or preamp. I do think it has a minimum output signal level for the amp to deal with. Volume is best handled at the amp with it (described above). It doesn't seem to amplify finger induced string noise or feedback (positive over a mic system).
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Well, I have had an opportunity to spend a few more days playing the Cabaret that John made for me, and I am happy to report that I am still smitten with it from a visual, feel and sound perspective. It really is a different instrument from my classical guitar and I will try to highlight some of tehse differences. I think both steel string players of a variety of styles as well as archtop jazz players would be delighted with it. I know that I am.
The quality of the build is truly masterful in its execution from top to bottom. The guitars neck is quite different from a classical in feel. The neck is a bit thinner and has a comfortable C-profile. The nut is slightly narrower than a classical at 1-15/16” and the fingerboard is not flat but has a 30” radius. The cutaway and flat heel design allow for easy access to the upper registers. All of these elements make the guitar feel more at “home” for a steel string or archtop player.
Unlike a standard classical which will typically have an “active” back to interact with the top, the carved back acts very much like a parabolic “reflector” so the instrument’s timbre is more fundamental in nature with fewer overtones than my classical. I suspect as the spruce top “opens” up, that a bit more overtone content will come into play over the years. The G,B and E nylon strings produce a warm, powerful treble timbre with a surprising amount of sustain. This quality of tone remains intact up and down the fingerboard which is quite impressive on a nylon stringed instrument. The wound E, A and D strings also produce very solid, balanced bass accompaniment, but not the deep sonorous bass of my classical.
This combination of these sonic qualities is wonderful when playing 3 and 4-note chords where the higher pitched notes in the chords are the melody line. There is a balance and clarity to the guitar. The pronounced mids and trebles and moderate bass accompaniment just works beautifully together in jazz standards and popular music. In summary, it is an extremely comfortable guitar to play that has a more fundamental timbre, dryer in overtones with strong mids, trebles and longer sustain. In contrast, my classical guitar (also wonderful) is less comfortable to play, but is more responsive to touch, with a stronger bass, colorful overtones with notes that develop quickly and decay more quickly. I actually find the Cabaret to be a more forgiving guitar with respect to touch; particularly if one’s right hand is not capable to bring out the subtlety of a highly responsive classical (which is my case).
I plugged in last night again, and I was surprised just how good it sounds. The Barbera Soloist pickup, together with my Acoustic Image Clarus 2R Series III head with a Buscarino Chameleon Speaker produces a very authentic acoustic tone. It requires no preamp, batteries etc. It does not seem susceptible to microphonics or string noise. Is it as good as it sounds acoustically? Well, no. But I think for venues where a performer needs amplification it is definitely a good option, particularly on a nylon string where the downward pressure on the saddle is less. Other luthiers making nylon strings should consider trying this pickup. Here is a clip of Ken Hatfield playing a Cabaret with a Barbera Soloist.
https://youtu.be/Qc_1CFUSg6o
Last edited by iim7V7IM7; 09-04-2015 at 09:46 AM.
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Mine's a 2006. i'm pretty sure that the rosewood is Indian. The receipt just says "rosewood". Originally Posted by iim7V7IM7
I had John make the nut width 2" because I wanted to play some classical on it as well, although that's still a smidge narrower than 52MM classical. Likewise I opted to have a flat fret board as opposed to a radiused one (I kinda regret that one, but it's still easier to play than a thick neck classical).
I really think that the headstock and saddle wood on your guitar are stunning, and the rosette is very unique/original. And Rodgers tuners? GTFO. Enjoy it in good health!
Last edited by fumblefingers; 09-04-2015 at 10:17 AM.
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Beautiful guitar!....I have Gilberts on my Gypsy guitar and they are great tuners. Your guitar body looks like either EIR or Pau Ferro to me. How long did it take for the top to open up?
My classical has a 2-1/6" (52.4 mm) and my Cabaret is 1-15/16" (49.2 mm) so it is just a touch smaller. regarding the rosette John worked with Tom Ellis to create it. The Birdseye maple celtic knot inlayed into Snakewood was likely laser cut. The celtic knot inlay on the Rodgers tuner plates and Snakewood buttons were designed to match.
John had some Brazilian Rosewood pieces with some nice landscaping that he used the headplate veneer and bridge. To improve string wear, he put an African Blackwood plate to reinforce the 12 holes.
Last edited by iim7V7IM7; 09-04-2015 at 11:04 AM.
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How long did it take for the top to open up? I can't remember, but probably about a year. I switch my guitar playing up lot in my modest collection.
Really cool details about your guitar. Big fun.
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Ive been on a Earl Klugh kick for the last year or so and have been considering The Buscarino nylon string.
Does anyone have experience with this model?
If you do please let me know what you think.
I have seen the videos Sound Pure put on youtube and I like the sound but the video is never the same as in person.
Thanks in advance
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I believe there are a couple of JGF members here who are lucky enough to own one, and I’m sure they’ll offer their insights.
Id also love to own one, but now is not the time. There’s a nice one on reverb.com at the moment. Has a few scratches but otherwise a beautiful looking instrument.
Buscarino Grand Cabaret 2012 Double Top Madagascar RW Barbera | Reverb
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Isn't this the guitar that Gene Bertoncini plays?
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