#16
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No offense intended I use this term to distinguish between full blown loud stage performance and acoustic guitars played without amplification it more limited amplification like a stage mike which will not survive an on board amplification system will. |
#17
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I used the code after the youtube section in different versions. I have it sorted other videos and went back and confirmed what I did with them but they just would not load. My ACE design was a really acoustic instrument from the beginning. The issue was building a more sensitive Instrument that still is controllable at high vol. The result is an aesthetic that accommodates a great range of playing styles including classical stuff but its more adaptable to other styles people want to play. Most are 1 7/8 th nut widths. I find the greater guitar community more inspiring. When I started making resonator models I realized that creative people want a guitar that takes them to new places. As a result I worked not only with Earl, but Chet Atkins and one of my favorites of all Nato Lima. Just for fun here is Nato from back in the 60s with his brother Antenor. Last edited by conecaster; 02-26-2024 at 01:16 PM. |
#18
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Oh, I never thought so, in fact I'm sure no one intends offense with it. It's just one of the weird (if you think about it) terminologies certain groups of musicians have begun to use apparently without without much reflection on it might evoke for the larger population. Bit of the same process that lead to the need to clarify what you mean with "acoustic", nowadays...
BTW, I remember chatting with you a few years back when your pickup system was still more or less under development, and I still planning to convert a resonator to nylon strings or adjusting to a newly converted one.
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I'm always not thinking many more things than I'm thinking. I therefore ain't more than I am. Pickle: Gretsch G9240 "Alligator" wood-body resonator wearing nylguts (China, 2018?) Toon: Eastman Cabaret JB (China, 2022) Stanley: The Loar LH-650 (China, 2017) |
#19
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The determined knocking of Lowden's nylon guitars, by posters who do not refer to any personal experience ahd at best are parroting back what they have picked up from various other sources, is weird.
OP I have a Lowden S32J. Very happy with it. Bought primarily to play unplugged. PM me any questions as O don't wish to get sucked into a negative exchange on-thread. Similarly happy to answer any genuine questions via PM.
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McNally Custom Dread Adi/Hog, McNally Custom OM Cedar/Walnut 000-28 Lowden S32J Guild F-512e (Spruce/Rosewood) |
#20
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I certainly don't expect the Lowden Sheeran to sound like the O-series (the latter which I have played and very much enjoyed). Last edited by CoastStrings; 02-26-2024 at 03:25 PM. |
#21
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The Wee Lowden’s are cute but…
… also sound like the small guitars they are. The SxxJ instruments are larger and don’t suffer this issue. If I could justify having multiple nylon string guitars I’d still have one of the Jazz series.
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#22
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[QUOTE]Very nice examples, Paul. I'd be grateful if you could provide more details of which specific components you used for Earl's guitar back then (and perhaps which ones you would recommend today).
I'll admit that this is my first time to hear of GoAA. I'l need to learn more as I'm using amplification a bit more these days./QUOTE] I made Earl guitars in a variety of materials. The Solo Recordings were Indian Rosewood guitars. There was one in Cedar and the other Spruce. I really do not remember the Spruce guitar. The cedar was an 8 fan top design. This was a style Ruck used early on in his career. I knew Robert well and I was experimenting with his 8 fan pattern that Barrueco played. That guitar was magical. I first met Earl at CAAS in 89. After that we spoke often for many years. There were many guitars made. I had this stash of very old dalbergias from Central America. Then others were Brazilian rosewood. I also has a bunch of German Spruce , that was cut in 1970. There were several patterns. The first patterns used on the Solo Guitar record were early drawings I did a long time ago. They have tight radius waist curves. I also used an older Spanish pattern by Simplicio. I made him one of those when he recorded Sound and Visions 30 years ago. Its was Brazilian with a cedar top. The stage guitar is 50 cm down the center line of the body. That is a Fleta thing. In the last ten years Ruck would send clients to me to fix his guitars. One came in and when I saw it, I did a double take. I pulled out my pattern from nearly 30 years before and the Ruck was so close to mine. The same guitar pattern Earl toured with the last 20 years. I drew my pattern. It was so close to Robert's. I called Bob and told him about it, he said that was a Fleta pattern his guitar was made from. Very odd to me. Here is a guitar I made last year. This guitar has Go AA installed discretely with vol. Control on the edge of the sound hole. Last edited by conecaster; 02-27-2024 at 08:41 AM. |
#23
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My Cabaret has an arched back which (supposedly) gives her a number of the sonic characteristics of a fully arched instrument. I never cease to be amazed at the power of her basses, esp. with a 0.050" low E tuned to D. Then again I have never played a traditional classical of comparable price/quality so there might be nothing exceptional here (except she never sounds muddy/boomy). (That's the just-over-3k€ segment, I don't want to go into comparisons with instruments costing twice or more than that.) This is the classical subforum so of course I'm defining "sounding good" as giving the kind of tonal *and* dynamic range when played acoustically (= unplugged). IMHO if you're after something that requires amplification to achieve both you can just as well go for one of the digital whizzkids with a proven trackrecord (Godin whatsitcalledagain, Cordoba Stage, ...) and enjoy their other advantages. Like advanced DSP that seems to be able to get rid of all traces of piezo quack much better than anything else (and that you carry with the instrument). I don't know if they have a "sound like Chet Atkins" setting, though For reference, the OP mentioned in his 1st thread that among the crossovers he had tried a Quote:
BTW: another brand that gets consistent warm reviews on classical forums including for being of a very good price/quality ratio: http://guitarraspicado.com/site/en/g...lo-49-cutaway/ (note the footnote about custom specs.)
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I'm always not thinking many more things than I'm thinking. I therefore ain't more than I am. Pickle: Gretsch G9240 "Alligator" wood-body resonator wearing nylguts (China, 2018?) Toon: Eastman Cabaret JB (China, 2022) Stanley: The Loar LH-650 (China, 2017) |
#24
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Sweet design! Love the woods!
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I recall that Ignacio Fleta's fame grew further when John Williams was using one of his guitars. Then Williams switched to guitars from Greg Smallman. |
#25
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Kind of unlike I thought but it happened |
#26
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#27
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It is a classical guitar. So the only thing cross over is the System. In the last 25 years I have made a true cross over model. Over the last dozen years I have been pursuing better amplified sound and have Go Acoustic Audio to provide amplified sound. This is one of my Super Acoustic Classical Electric models played unplugged. Here is the model with a Go Acoustic system installed in it. Steve is one of the most admired guitarist on the Las Vegas scene. https://www.youtube.com/watch?v=pym_jJr4mCo BTW- the guitar is Indian rosewood and cedar not brazilian as suggested. I made his guitar back around 2001 or so, it is a very early example. I use the word "conecaster" for my email so Steven is confusing that here. My site is mcgillguitars.com, Amplification is goacousticaudio.com To demonstrate the sound of GoAA in a classical I have this link to my Drive https://drive.google.com/file/d/1mSY...ew?usp=sharing the ACE model can be played without effects and get a really natural sound. But the stage performers tend to use some effects if only minimal. Last edited by conecaster; 03-27-2024 at 01:53 PM. |
#28
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I was going to offer up a couple of options for you, and I will but...
Paul is the guy to talk to. Not only is he well known for his ACE models but possible even better known for his other nylon string guitars. A new ACE may not be in your price range but I believe I have seen a few older ones, older circutry, for under 4k. I currently own a Super Ace. Another possibility, that is along the D'Aquisto pattern is the Borys B520. They have a carved back/flat top. Hard to find, but they are nice guitars and available just under $4k. |
#29
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Anyway, a nylon-strung maple archback with a flat spruce top for under $4k, that describes my Cabaret perfectly. If you can get one from Buscarino himself you'll even get it set up like his own Cabarets that go for 3x more and with an Ultratonic installed instead of the stock LRBaggs UST Eastman put in.
__________________
I'm always not thinking many more things than I'm thinking. I therefore ain't more than I am. Pickle: Gretsch G9240 "Alligator" wood-body resonator wearing nylguts (China, 2018?) Toon: Eastman Cabaret JB (China, 2022) Stanley: The Loar LH-650 (China, 2017) |
#30
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I have never seen, nor heard, one of the Borys nylon archtops. I have no idea about the projection on those.
I do have an B520 Maple/Spruce. It plays fine acoustically and does have good projection, unplugged. Acoustically, it isn't going to fill a concert hall, but is has enough, unplugged, to fill a small room. I bought it, used, several years ago and it did come with both an under-bridge multi-transducer plus a soundhole mic setup. It was a working guitar. They are similar to the Cabaret, but when I looked at those they double the price, new or used. The Eastman is a newer animal. Not sure how many Buscarino sets up every year, in the beginning it seemed like a minimal number. |