I think the contemporary 'classical guitar' needs to meet its ancestors and become more interested in its heritage. It could also benefit from their decorative imagination, freedom to invent, and a healthy curiousity about why some of these guitars still sound so good while ignoring much of what passes as accepted knowledge these days. Not a fan of 'cork sniffer' discussions about back and side tone woods, but very intetested in the aesthetic possibilities of breaking out of this jailhouse.
I Learned guitar making in Granada between mid 1975 and the end of 1976. Have lived in Connecticut since. After making about 40 guitars with rosewood that looked more or less like everyone else's -- apart from having a french polish finish at a time when sprayed nitrocellulose was the rule, I moved onto a field where I had the freedom to design instruments from the ground up.
Recently I am interested in building a few more instruments to satisfy my own curiousity and am pleased to have harvested a typical ornamental pear tree in my yard and found the lumber identical to the best 'European pear wood'. Hoping to learn a lot here!
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