LAURENT BRONDEL – Model A-2c, Red Spruce/Honduran Mahogany: Build Thread

[MikeD]

Sounds like a winner! Can't wait to A/B yours with mine next Woodstock.

[iim7V7IM7]

Originally Posted by MikeD

Sounds like a winner! Can't wait to A/B yours with mine next Woodstock.

Mike, we'll both be there...

[iim7V7IM7]

The A-2c has fantastic timbral balance, faster attack, stronger presence and projection with more harmonic richness than I first perceived out of the box. I know that mahogany guitars in general are supposed to have "less sustain and overtone content" than glassy rosewood guitars, but this A2 forgot to read that book because it delivers impressive sustain with rich, harmonic overtone content.

I took some early winter backyard shots...

[gregg]

That back is gorgeous!! Would love to hear a sound clip.

[iim7V7IM7]

Off the the EU on business tomorrow. Hopefully soon.... What the photos miss is the texture of the interlocking grain in the mottled figure.

[justonwo]

That's interesting. My old mahogany A-2c definitely had enormous power and projection. I think it was more along the lines of the conventional thinking on mahogany, though. Overtones and sustain were there, but not nearly as much as with my rosewood A-2c. Glad you are enjoying yours. It certainly looks sweet!

[dcn]

Wow, that looks terrific! The back's hues go well with the case's interior, which is also nice.

[iim7V7IM7]

Originally Posted by justonwo

That's interesting. My old mahogany A-2c definitely had enormous power and projection. I think it was more along the lines of the conventional thinking on mahogany, though. Overtones and sustain were there, but not nearly as much as with my rosewood A-2c. Glad you are enjoying yours. It certainly looks sweet!

My perception of its attack, power and projection has definitely changed since my first audition and review. I certainly have guitars with more sustain and overtones, but for a mahogany guitar, this surprised me (positively). Again my initial perception has changed. It has plenty of both attributes. It still has that woody, mid-centric, mahogany presence; just a bit richer in sustain and harmonic upper partials than I first perceived. This old growth set was at the highest density range of mahogany that Laurent has worked with, perhaps that has something to do with it?

[cogito]

Originally Posted by iim7V7IM7

My perception of its attack, power and projection has definitely changed since my first audition and review. I certainly have guitars with more sustain and overtones, but for a mahogany guitar, this surprised me (positively). Again my initial perception has changed. It has plenty of both attributes. It still has that woody, mid-centric, mahogany presence; just a bit richer in sustain and harmonic upper partials than I first perceived. This old growth set was at the highest density range of mahogany that Laurent has worked with, perhaps that has something to do with it?

Or perhaps it's that back and side woods have much less relevance than we so often attribute to them. Laurent has challenged the orthodoxy in forum discussions of this issue, so it doesn't surprise me that the guitars he delivers help prove the point. Would love to hear it.

[Diamondave]

Stars in my eyes...

[iim7V7IM7]

Originally Posted by cogito

Or perhaps it's that back and side woods have much less relevance than we so often attribute to them. Laurent has challenged the orthodoxy in forum discussions of this issue, so it doesn't surprise me that the guitars he delivers help prove the point. Would love to hear it.

Could be...I was merely guessing, hence the question mark...

[Steve Kinnaird]

Wonderful! And that back...my oh my that back...!

Steve

[justonwo]

Originally Posted by cogito

Or perhaps it's that back and side woods have much less relevance than we so often attribute to them. Laurent has challenged the orthodoxy in forum discussions of this issue, so it doesn't surprise me that the guitars he delivers help prove the point. Would love to hear it.

Yes, he has, though my two Brondels fall right into the conventional orthodoxy. Too a tee. I remember Laurent telling me he felt the difference in vintage guitars was much more subtle from one back material to the next, and I've experienced some of that. If I still had my mahogany A-2c, I would say that guitar in comparison to my rosewood A-2c would be a perfect example of the orthodoxy relating to rosewood and mahogany.

I would echo im7V7IM7 in that my old mahogany A-2c had a lot of power in the attack, though I've found that to be a trait common to most Brondels.

I would guess that the high density of this particular piece of mahogany does have something to do with the increased sustain and overtones. I think, perhaps, when you are talking about a particular builder and comparing the sound from one guitar to the next, the difference in back material is more pronounced.

[iim7V7IM7]

Originally Posted by Steve Kinnaird

Wonderful! And that back...my oh my that back...!

Steve

Yeah, I fell in love when I first saw that set back in 2014 in the raw. It came out even better than I imagined. I have seen beautiful curly fiddleback, beeswing (with is similar, but smaller) and of course quilted (The Tree), but I had never seen large block mottle like this before.

Bruce Sexauer was fortunate enough to pick up the nicest of the few remaining sets that Tom had at Woodstock (someone should jump on that!).

[iim7V7IM7]

I have also been having a ball playing my new Brondel A2 over the last few weeks. As I have gotten to know it a bit more, what I am marveling at is its combination of speed of attack, balance in volume and superlative string-to-string clarity. It has a drier, woody sound with ample sustain when asked for through either ringing strings or a legato slide. A crisp, drier timbre does not mean a fundamental sound and replete of overtones; just a bit fewer additive partials surrounding the notes. This creates a more open, warm sounding airy tone instead of the darker, lusher tones associated with guitars made using dense, glassy hardwoods.

The guitar is also incredibly harmonic which sounds amazing among its airy timbre. Notes develop to peak volume rapidly post attack and present all equally in volume creating amazing string-to-string clarity with a bit of airiness. Being a supremely responsive guitar, these properties remain intact across all levels of touch. This guitar is quite versatile and excellent for a variety of playing techniques (fingerstyle and plectrum) and musical styles. The guitar is an absolute joy to play and is a fantastic addition to my collection.