#31
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#32
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About ten years ago I was reintroduced to the music of Michael Johnson, who started his career with the Chad Mitchell Trio, and who played a classical guitar almost exclusively. I myself had started playing guitar in the 60s using an Aria classical but over the years had migrated to steel. While I hadn't played my Aria in years, I still loved the sound and decided to purchase a better nylon string guitar. Although the true classical neck can take some getting used to, it's well worth putting in the effort as I, too, have not been very impressed with crossover nylons.
If you can swing it, I'd recommend going for a true classical and, in order to avoid a dull sound, look for one in the over-$1000 range. The right strings are also important. After trying many sets, I ended up liking hard tension strings because the 1) felt firmer, like steel and 2) gave a brighter sound.
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1967 Aria Classical 1974 Guild D50 2009 Kenny Hill New World Player Classical 2009 Hoffman SJ 2011 Hoffman SJ 12 https://paulashley.weebly.com/ https://www.youtube.com/c/PaulAshley https://www.reverbnation.com/paulashley |
#33
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I have an Almansa 401 Mate from Spain. I live in Thailand and everyone who plays on my guitar when they visit, then they want to buy it. Even tho I do not play it much anymore I would never sell it. It sounds great. I think, I do not know, it is more or less a beginners guitar. I have had it for over 15 years and purchased it in Bangkok.
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Yamaha F310 Almanza 401 Mate Classical Ventura 12 string V17, now a 6 string Lap Guitar. Kala Baritone Ukulele Melokia, Solid Acacia Tenor Ukulele Yamaha Guitalele GL1 Yamaha CS40 Classical |
#34
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I recently picked up a Dupont MCC30 nylon string, based on the first Maccaferri guitar. It's my first nylon string and I'm really smitten with the sound of the thing. I'm not a classical player, but rather folk/western/blues/swing, and it covers all of those styles nicely. I have no doubt that it would be fantastic in the hands of a classical player as it's built like one.
I wrestled with the notion of going with more of a crossover guitar and tried a bunch of those, as well as standard classical guitars. It was between this guitar which has a flat radius fingerboard that is almost as wide as a standard classical (just under 2"), with a full 650mm scale length, and a crossover type with a slightly radiused fingerboard and narrower nut. This guitar really beat the other tonally, and I'm adjusting to the width of the neck no problem--in fact I kind of like it, especially the string spacing. Only downside is that I can't do the thumb wrap so I have to bar more chords (my hands are on the smaller side), but not a big deal. I'm finding that the guitar is very sensitive to different strings and I'm experimenting there. It's opened up a whole new world of playing for me!! |
#35
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I play a lot on my classical (Salvatore Ibanez AEG-10-NE), everything from Spanish classical, pop, jazz, country, James Taylor, Gordon Lightfoot, Jim Croce, Easy Listening, etc... I also play both steel string, and electric in my shows. It just depends on what I feel like playing at the moment. I let the song decide....
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#36
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1967 Aria Classical 1974 Guild D50 2009 Kenny Hill New World Player Classical 2009 Hoffman SJ 2011 Hoffman SJ 12 https://paulashley.weebly.com/ https://www.youtube.com/c/PaulAshley https://www.reverbnation.com/paulashley |
#37
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#38
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Your comment inspired me to pick the guitar up and do an impromptu recording of some Jim Croce and James Taylor.
The sound is a bit low mostly because the babies were asleep so I had to do it quietly. And that's basically when I find some spare time to play Here's the YouTube link: https://youtu.be/xs0TQSX1fEA As pointed out some two or three posts before, I also have a hard time trying to keep the thumb behind the neck. I try not to, but it keeps popping out... |
#39
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old folky...nylon on everything except my 12 string...and tuned down to B to B...it feels like nylon too. Even my banjo.
I have gone away from 2" nuts, however.
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Martin 0-18t tenor guitar Ode model 21 long neck banjo Zach Hoyt 10" baritone banjo/uke LoPrinzi model A baritone uke Kerry Bannister mahogany nui (big baritone) uke Kerry Bannister mahogany baritone uke Harmony baritone uke |
#40
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Why? I'm interested to know because I've got mixed feelings about it. On one hand, I like the string spacing, but on the other it's difficult to do thumb over the neck, though I managed to do it eventually.
My guitar's neck is a D shape, flat at the back. It's rather uncomfortable, I'm still getting used to it. But I haven't got another one, so I I'll just play what I got. |
#41
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if you are asking me...I don't thumb over the neck at all. barr chords are easy for me and I have no need to try and catch an E string with it.
it's just the way i've played for 50 years, or so...certainly not the only way. my thumb is planted on the back of the neck, mostly.
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Martin 0-18t tenor guitar Ode model 21 long neck banjo Zach Hoyt 10" baritone banjo/uke LoPrinzi model A baritone uke Kerry Bannister mahogany nui (big baritone) uke Kerry Bannister mahogany baritone uke Harmony baritone uke |
#42
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In the above photo Woody is holding a Martin 00-18C.
A steel string player for the past 50 years, a few years ago I acquired a '54 Martin 00-18G. At first I rarely played it, now the ol' arthritic hands find it a blessing. It does take a while for the ears to adjust to the tone of a nylon stringer but now that I'm there I find the tone everything I could ask for. Martin's G series nylon stringers were a staple of the early folk scene, especially the less costly 00-18G. Paul's holding one on the cover of PP&M's first album. |
#43
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I love the combo of steel and nylon that peter paul and mary (ppm) do.
I was asking about the thumb because the necks on steel guitars kind of "want" you to wrap the thumb around it, while nylons ask for thumb behind the neck. Somebody once told me "correct" technique required the thumb to be behind the neck and not showing above the fretboard. How about that? I can keep it behind the neck most of times but there's always a part of it that pops above it. |
#44
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I cradle the neck just like I would a steelstring. Of course my thumb doesn't make it as far around as it would on a skinnier neck. Classical music players stick pretty much with the thumb behind the neck technique though.
Re PP&M I did hear that Peter's D-28S while strung with steel on the 6th through 3rd strings actually had nylons on the 2nd and 1st. |
#45
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[QUOTE=rodmbds;
Somebody once told me "correct" technique required the thumb to be behind the neck and not showing above the fretboard. How about that? I can keep it behind the neck most of times but there's always a part of it that pops above it.[/QUOTE] I'd sure take issue with that. The "correct" way should be the way each is comfortable with and the size and shape of the neck will usually dictate the thumb position.
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Martin 0-18t tenor guitar Ode model 21 long neck banjo Zach Hoyt 10" baritone banjo/uke LoPrinzi model A baritone uke Kerry Bannister mahogany nui (big baritone) uke Kerry Bannister mahogany baritone uke Harmony baritone uke |