Archive for July, 2010
Four Sevillanas on Four Guitars
Trying to find ways to hear guitars side by side I thought Sevillanas would be perfect, as they come in groups of four, so I recorded my Sevillanas on these four guitars and then just edited them together. The guitars are: G. V. Rubio Archtop, G.V. Rubio Negra, a Jose Lopez Bellido Blanca and an Alejandro Negra.
Here are some pix of the cedar top that Otto Vowinkel is using for the next guitar he will be sending us. They’re cool shots of the process, so I thought I’d share them.
So Scott Wolf of Duo Solaris has done a transcription of Schumann’s Scenes From Childhood which will be published soon. Here the Duo is playing his transcription of #1 – ‘Of Strange Lands and Peoples.’ Scott is playing a Dominique Field guitar and Connie is playing a Christopher Dean.
Here’s Reyes telling me about his meeting with Marcelo Barbero in 1956.
Here they are playing Gnattali’s Suite Retratos, Movement 1 “Pixinguinha.” Connie is playing a Fritz Ober and Scott is playing an Edmund Blochinger guitar.
Here’s more of Duo Solaris, this time playing a Perez ‘Concierto‘ (Scott) and a Contreras 10th Anniversary (Connie).
Duo Solaris, which is guitarists Connie Sheu and Scott Wolf, stopped by the showroom and we got to record some great duets, which doesn’t happen too often. Here they’re playing two of our Studio Series guitars, both Mahogany, one Cedar top and one Spruce, and you can check out those guitars here: Studio Series. Also you can learn more about Duo Solaris at www.duosolaris.com.
Here’s Felipe Conde talking about how his dad, uncle and Paco De Lucia changed everything when they made a new kind of Flamenco guitar
This is a beautiful 1971 Cypress and Cedar Ignacio Fleta. We recorded Almer Imamovic playing it a few months back, and while Almer played amazingly (he always does) there’s some debate as to whether this recording really captured the guitar’s soul – and I only mean this in terms of what we heard in the room vs. what the microphone captured. Can’t blame the microphone either, as it was a vintage Neumann km84, but as many of you know, microphone placement is an art, and I can’t get it right every time. Having said all that, I hope you enjoy it!
I like to ask luthiers what the perfect guitar would sound like. It’s a dumb question, of course, but I always like hearing the answers I get. Here’s Contreras’ take on it.
