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Thank you. The sides are Hormigo wood. Which actually create a larger sound volume, according to the builder. Crazy that these sold for $850 on eBay.
Originally Posted by Woody Sound
In South America Hormigo is known as “the wood that sings.”
It’s traditionally used in manufacturing Marimba’s.
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06-07-2022 04:58 PM
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That's insane. Originally Posted by 2bornot2bop
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I love classical and flamenco guitars as much as I love archtops. I’m fortunate to have 2 nice flamencos and a nice classical, all hand made in Granada.
The classical was built for me by Mijail Kharash. It’s a cedar/Indian Rosewood with a sound port and Brazilian Rosewood bridge and face plate on the headstock.
I was also lucky enough to find a beautiful blanca built by Mijail. I wanted this guitar when Guitar Salon International first listed it as a new guitar back in 2019, but I couldn’t afford it at the time. Late last year I found it on Reverb and jumped at the second chance to own it:
Mijail’ s guitars have an amazing tone and projection. This blanca is a cannon!
I also have a beautiful flamenco negra built by Jose Gonzalez Lopez who is a protege of Antonio Marin. Jose builds alongside Marin and Jose Marin Plazuela in Marin’s shop in Granada. This guitar plays beautifully and has such a rich, full sound.
I can’t decide which of these guitars is my favorite. It depends on which one I’m playing at the time. They are so different from each other. The Kharash classical is rich, warm, and powerful. It’s like having a grand piano in the house. The blanca is pure flamenco - fast, bright, and loud. It’s a Bulerias machine. The Gonzalez negra is warm, rich, refined, yet still has a raspy flamenco voice. And, I can’t imagine any guitar with a better neck. I am very lucky!
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Do you know the species? Curiously the only relevant tidbit on Wikipedia is this: Originally Posted by 2bornot2bop
Sound Forest of Hormigo
That's actually Central America of course; I didn't realise marimbas were from there and not further south.
EDIT: Dalbergia stevensonii, maybe?
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Actually, the NCX has the traditional flat 52mm neck. It's the NTX series that has the slightly narrower neck at 48mm. Originally Posted by Jimmy blue note
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Beautful blanca. Looks like Wittner gears on it, yes? I'm having a set installed right now. Originally Posted by Mark M.
I was also lucky enough to find a beautiful blanca built by Mijail. I wanted this guitar when Guitar Salon International first listed it as a new guitar back in 2019, but I couldn’t afford it at the time. Late last year I found it on Reverb and jumped at the second chance to own it:
Mijail’ s guitars have an amazing tone and projection. This blanca is a cannon!
The blanca is pure flamenco - fast, bright, and loud. It’s a Bulerias machine.
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Not sure what brand of pegs are on the blanca. I will ask Mijail.
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Ah, sorry, I didn't see your followup to my "new pegs day," where you say they are mechanical gears. Looks like Wittner, I can't tell. Originally Posted by Mark M.
Incoming NPD
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I was wondering about flat vs. radiused fingerboards the other day. What's the radius really for? I can imagine that a bit of curvature on the treble side makes it easier to place a barré chord where the G and/or B sound proper but the usual curvature puts the A and G lower and thus requires more pressure on the tip of the index finger. Originally Posted by Woody Sound
What I also suspect is that the radiused *saddle* makes it easier to hit the next lower string when fingerpicking on the top 4 strings.
I don't have a guitar with a flat fretboard so can't verify, but AFAICT my Loar's fingerboard has a larger radius than the one on my Seagull and that could explain why I find her easier to play (string spacing at the saddle is near identical).
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Nice collection Woody, care to tell us about that 10-string?
And you are quite right, Savarez makes many types of trebles. The Alliance trebles are carbon so naturally sound harder.
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It's a Bartolex. They make several models. Originally Posted by mr quick
Welcome to Bartolex Guitars
I bought it here. Stephen is a great guy.
BartolexUSA.com -- Bartolex, Milagro & Cathedral 10-String, 11-String, 8-String, & 7-String Classical Harp Guitars, Ameritage Guitar Cases
https://www.bartolexusa.com/2018/SLS...LS10CELHI.html
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Classical guitars will force your technique, and while meant to be played unamplified are increasingly amped up. Unamplified, your technique and the capabilities of your hands tend to push for custom string spacings... they make a difference. My experience is that a couple of days away from the instrument can involve a real re-adjustment, whereas custom string spacing? The strings just fit under your fingers. But some people have whatever we'd call "normal sized hands". I don't. Duh.
That said, the ability of the top of a classical to breathe is important to the sound. I think tops tend to get a LOT of attention from luthiers. Kenny Hill's imported build/designed guitars from China met his standards (he dissed the Mexican effort as inconsistent - not poor, just not as consistent), and have a good rep for the money. The project was focused on cost control mostly as American luthier prices at the time were gyrating from $ 3,000 upwards (KH's were already north of that by some measure at the time), and so his project has been well received. Also, folks had gone increasingly into bracing and double tops that were levitating prices... so this was a helpful push back as well as an effort to offer higher tech instruments at the more common price.
These are meant to be great instruments to start with - and they are, but you may not need or want that... at least not initially. That said, there's still just nothing like a custom built instrument - string spacing, neck width, neck shape, etc. for enabling your hands for maximum expression with the minimum of muscle adaptation. Again, you may never need this, and if so, don't get lured into it. None of this is required, but eventually your ear and hands may drive your curiousity - if you stick with it - to wonder "what would I sound like ...if...". Don't succumb to the wild siren songs of this unless you really need to.... I did and speak from experience, but had some inferior mind issues I thought would be solved by a better mousetrap... and to some extent that's true and yes it did help, but some can also be solved by many in other ways, too. Consider yourself blessed if you have full size hands full of muscle!
Big name domestic luthiers will be north of $ 5,000 and considerably more now, but some of the newer folks should be more accessible. If you buy new and low price ($1,000 is low for a classical with a solid top), you'll be in import or at least factory land. Nothing wrong with that. I like the Spanish builder idea, but there are also some great luthiers in Latin America at reasonable prices. I play a 590mm luthier made classical customized to my small hands, and this is a 3/4 instrument with as much volume as anything out there - BUT there are tremendous prejudices in the classical world (surprised?) - especially against "kid" instruments, factory instruments, etc. Don't let that affect your desire.
The other thing is to get some strings that will allow the dynamics of the instrument to shine. Classical is all about dynamics of expression, and you won't have amplification so it's about you, your instrument and your strings. String it too tight and the top stiffens up. String it too loose and you may not be able to hear some bits. I think the general idea is that the latter is probably better of these two. One of the advantages of a 640mm as opposed to 650mm scale is less about stretches and more about taking high tension strings and having them play at lower, more responsive tension. Many have found that Aquila's Sugar Strings (now available at stringsbymail rather than direct when I first ordered them) are some of the loudest on the planet. You can play soft and sweet with these, too. Fabulous product. My other preferences are for Hannabachs.... which are amazing in just about every flavor on the planet. Then there's D'Addario and you can order singles that will allow you to dial in just about any dimensions you want. With my short scale guitar, I have fewer choices, but between Aquila and Hannabach, the choices are pretty amazing in their own right.
Earl Klugh is a hero, but left off one of the lists is Andrew York. He's no slouch either and is writing some pretty great stuff ("Home" among others). Have fun and don't let other people's needs and/or prejudices constrain your ability to enjoy the journey. Mine included. Look up Rob Mackillip (UK-er) who does both plectrum and classical and equally unafraid to challenge conventions - even going down the gut string / no nails alleyway, but above all, have fun. Remember about everything I write here - by my own suggestion on another thread, I'm probably what the English call a wanker
. So don't pay attention to any of the above 
, it's just code for "You be you" and don't let other people's prejudices (a very big thing in the classical world) drive your own. Lot's of good advice in the other responses here. Mine? Probably less so.
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Everyone here knows and admires Rob and misses his posts.
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Yeah... I admire the guy both as a player, a teacher and a just a gentle person in all the good ways I can think of these. He sets a high standard and I feel like I'm following on his leadership to the small extent that I can. I LOVE the nails free CG and the string search and I love his touch in the dynamics with which he plays. He opened my ears to hear the music IN the music. Originally Posted by Flat
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Checkout also Miroslav Tadic, a wonderful player...
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Hi, M,
I noticed in two of your beautiful photos that the tag end of your strings are unclipped at the bridge. This causes scarring to the surface and will vibrate when playing creating unwanted overtones/squeaks. I usually leave no more than 1/8" at the terminus. Very beautiful headstock and rosette on the "Blanca."
Marinero
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OP Update:
I bought one! I visited the only “good” acoustic shop in my city with a selection of classical guitars. The Cordobas stood out. There seemed to be a big step up in tone from the laminate c7 to the solid c10, but diminishing returns on the much more expensive c12. They had the c10 in both cedar and spruce. I went back and forth for awhile but settled on the cedar: I liked it’s slightly warmer sound, I much preferred the color of the cedar over the very bright spruce, and the rosewood back and sides happened to look a little nicer on the cedar model.
I’ve really enjoyed the warm tone and playing experience with more space on the fretboard, though I’m still working on technique to maximize warm string sound without the typical nylon-string associations with Spanish/Latin/Classical music (might experiment with strings on that front too).
It’s too early to say, but I’m having so much fun with the C10 that I might end up selling my Gibson J200!
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Yay for you! Great to find one that’s inspiring you, good luck play in health and now (if like me))) go crazy trying strings.
jk
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Thanks for the tip! No one has told me that before, but it makes sense. Much appreciated! Originally Posted by Marinero
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Congrats! I love cedar tops. Good choice! Originally Posted by markesquire
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Yes! I love his playing. Originally Posted by StefanoGhirardo
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Good choice to get the solid top. Supposedly cedar sounds better than spruce when new, taking less time to break in. Originally Posted by markesquire
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This thread is bringing back good memories of my classical studies way back and long ago.
The jazz teacher at my school didn't show up for our appointment, but the classical teacher did. I ended up studying classical as a college course while working on my electrical engineering degree.
I still have my Alvarez Yairi CY135. A very nice classical for the price in its day.
I loved the Augustine Blue strings back in the day.
It's been a while since I dabbled in classical guitar, but I enjoyed it quite a lot. Definitely teaches you good technique and lots of great music.
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I've been on this problem lately, in considering that 7-string. Spruce seems to be the choice for many high-level players, but I really like cedar as you say for its "ready-to-play" sound. Could also be that spruce is more revealing of my poor technique, of course. I tend to gravitate toward cedar tops, but it is impossible to know whether that's a matter of its actual timbre... Originally Posted by Woody Sound
I only recently realized that it's a real possibility that my beloved cedar guitar is a spruce guitar. I can't really tell, because its finish is so orange-toned.
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, Originally Posted by mr quick
Hi, MQ,
Spruce is a much denser wood than cedar. Ergo, it's a sharper, crisper tone. If your guitar is "orange-toned" it is more likely cedar than spruce since CG luthiers rarely stain their soundboards unless for effect(rare). The choice of sealer also provides additional patina. You can also see the difference in the grain's spacing with cedar being a more open grain than spruce. However, tonewoods have no effect on your ability to play an instrument. It only affects the tonal color and projected sound. I hope this helps you.
Marinero
P.S. Few guitarists today, Classical or Jazz, really utilize the complete palette of colors available to them from their instruments irrespective of tonewoods. The acoustic guitar--CG/EG, is capable of incredible tonal diversity if a musician just takes the time to explore its possibilities and really understand his instrument. For example, when I'm playing Bach(cedar guitar) as a general rule, my playing area focus is much further behind the soundhole than when I'm playing Tarrega, Mertz, or Villa Lobos since I want a cleaner, brighter, sharper, more focused tone. However, if I'm playing Romantic Era Music, I generally want a rounder, sweeter, more complex sound as well as using a broader palette of sounds to flesh out the intricacies of the piece in regards to the music and my personality. I've mentioned many times before . . . guitarists are very strange canaries in relation to other musicians in their obsession to find the "perfect guitar" and up to a point I understand this desire but a professional grade instrument with quality tonewoods built by a respected builder/luthier will never be fully understood by 90% of the guitarists that play it since they never take the time to fully discover its potential. With all things being equal . . . it is MUSICIANSHIP that gives life to an instrument and music . . . not the tonewood or label.
M
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