RobMacKillop wrote: ↑
Wed Oct 31, 2018 11:16 pm
Very different from the double-top guitars I have from Juan Hernandez. All three are very good guitars - my "Luthier" model from Juan Hernandez is in the For Sale section. They are both very modern instruments - I wanted to show what a no-nail technique sounds like with modern construction. But at heart I prefer the traditional sound. This Camps negra has very quickly become my favourite guitar.
I'm not the first one to do the gut on flamenco idea. Check out Carles Trepat - who owns a Torres - playing his 1970s Conde flamenco with gut and silk strings: https://youtu.be/FMj65AIgRWI
By the way, his mic costs as much as my guitar...just saying.
Jesus. What a beautiful and beautifully sounding guitar you got there Rob. You are very lucky.
I am not sure if you've seen this interview, but Trepat talked briefly about his Conde guitar during an interview he gave a few years ago when he presented his double CD with the music of López Quiroga. If you listen to what he says, it is not clear that this was considered strictly a “flamenco guitar” at the time when it was built. I suspect that the sharp distinction between flamenco and non-flamenco guitars is a development that occured later. He says the guitar is “almost” more of a flamenco guitar than for the classical repertoire. I have transcribed here his comments during the part when he speaks about his guitar, and then translated them into English below.
Transcription and translation from 8:24 to 10:01
Es una guitarra de Faustino Conde, que trabajaba con su hermano, Conde Hermanos, de los años 70, aunque por el aspecto y por, no solo porque se ve que ha estado muy trabajada, e incluso por guitarristas flamencos, la guitarra es casi más una guitarra flamenca que para el repertorio clásico, pero guarda, esta guitarra, algunas características de un tipo de guitarra del siglo 19, que luego se fue agrandando, y eso para conseguir más sonido, para poder proyectar más, pero en las guitarras flamencas se ha conservado algo del espíritu de Tárrega, más que en nuestras guitarras llamadas clásicas. Esa es mi creencia y con esta guitarra voy a interpretar. Y con la característica de que la toco con las cuerdas de tripa, y de seda en los bajos, como se hizo hasta los años 50, que apareció el plástico, el nylon, y nos plastificó la guitarra. Es un poco estar encima del instrumento, quiere una esclavitud mayor todavía el tocar con este tipo de cuerdas, del que ya requiere el dominio de un instrumento por sí. No sé si vamos a volver a ver como habitual la tripa y la seda en nuestra música.
This is a guitar by Faustino Conde who worked with his brother, Conde Hermanos, from the 1970s. Although by its looks -- and not only because you can see it has been pretty well worked over, even by flamenco guitarists –- the guitar is almost more of a flamenco guitar than for the classical repertoire, but it retains, this guitar, some characteristics of a certain kind of 19th century guitar, which then started to grow in size in order to produce a bigger sound, get more projection, but the flamenco guitars have retained something of the spirit of Tárrega, more so than our so-called classical guitars. That’s my belief, and it is with this guitar that I am going to play, with the added detail that I play it with gut strings, and silk on the basses, as was done until the 1950s, when plastic, nylon, made its appearance and plastified the guitar for us. It takes a bit more of being on top of the instrument, playing with these kinds of strings requires an even more dedicated slaving than what is already demanded by the mastery of the instrument per se. I don’t know if we will ever see again the use of gut and silk as something habitual in our music.