Thanks for asking, as I have the same question myself!Jeffrey Armbruster wrote: ↑Sat Jan 06, 2018 11:25 pmWhen people refer to 'that Spanish sound', do they mean that such guitars are good for playing 'Spanish' style repertoire, or do they mean that the guitars have the kind of construction and quality of tone that people admiringly refer to as 'Spanish'---that is, admirable?
Why not indeed...and actually in the museum that Romanillos has set up in the Casa del Doncel, there are 5 centuries represented. I guess he doesn't like cedar all that much and is kind of a "spruce" man. Nevertheless, it should be kept in mind that his views are represented in brief excerpts from interviews and thus certain comments may have been included and others left out. I think that as the "Spanish" guitar moved out onto the world stage, into larger and larger performance venues and into new compositions and musical styles, the construction, materials and "sound" changed and adapted to new tastes and performance requirements. Romanillos is perhaps expressing a nostalgia for a particular period in the Spanish guitar's history. I guess that like language, the "Spanish" sound has evolved.Michael.N. wrote: ↑Sun Jan 07, 2018 8:20 pmBut why not Sor, Aguado and the Spanish guitars of that period? You can take any period in time and proclaim it as the true Spanish sound. I guess that there are three broad periods of the Spanish guitar: Sor and the small guitars of that period, Torres/Tarrega and the birth of the larger modern guitar, Segovia and the Madrid school of larger cedar guitars.
Sounds more like a ‘cedar Ramirez’ sound. A spruce Antonio Marin Montero sound nothing like that and is equally Spanish.Taylor 25 wrote: ↑Mon Jan 08, 2018 12:58 amNo doubt that the expression "that Spanish sound" is subjective. However, I agree with celestemcc. IMO, a "Spanish sounding" guitar has a warmer, slightly darker tone, with beautiful timbre and rich trebles. Whereas a "modern" guitar has a bit more of a neutral, clean sound.