Arduous wrote: ↑
Sun May 20, 2018 4:38 pm
The players don't hear me very well.
I play mostly with a string quartet but also have three duo projects going and those are with flute, violin and cello.
They would all enjoy it very much if they heard me better.
I've done a fair amount of (amateur) chamber music: played for several years in a trio of flute, clarinet and guitar; currently play with two violinists in trio; various other combinations including violin/guitar/cello, flute/clarinet/guitar/cello, etc. . . .
I'd agree with the amplification suggestion for some settings, but I also appreciate the inconvenience if you have to move equipment often. With my ensembles, we could usually find a seating arrangement that allowed me to face the other players so that they could hear me better. The problem, of course, is that you end up in a different seating arrangement when performing, and if you haven't rehearsed that way you can get thrown way off. You probably know all of this, though.
In terms of instruments, I love my Aaron Green guitar and I find it does quite well in ensemble settings. As others have mentioned, Aaron also deals in fine guitars, so if you can visit his shop in MA then it's definitely worth the trip. A less conventional suggestion would be to look into smaller-bodied 19th century style instruments. They tend to emphasize frequencies that can cut through an ensemble much better than a modern guitar. The price you pay is that you get a less "traditional" solo tone that many find "boxy." I've heard a terz play unamplified with a small chamber orchestra in a medium concert hall, and it projected very well. I wonder if a flamenco might have a similar cutting ability--never tried it.
Remember Anthony Weller, please help. Contact myself or Aaron Green for details.