Here’s an interview I did last year with Teodoro Perez, with his son Sergio as interpreter, answering my question about what makes the perfect guitar.
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Thank you GSI for these terrific videos by master guitar makers.I have tremendous respect and admiration for them ,long may their fine work continue.
Dissapointing that John Ray thinks “tone, tonal palette, nuances and subtleties” are not important for flamenco guitars …. he is still stuck in 1960-70 flamenco era … the modern flamenco guitarist demands even more tonal palette than a classical imo
I think this “mindset” is apparent in Johns guitars which do not have a sound suited to modern solo playing ….. they are simply not expressive enough .. ok for loud tablao where oyu make noise an lots of rasgueos but his flamenco fall far short of the mark for expressive solo playing.
Interesting point of view, the reason I own and play Lester Devoe’s guitars is because, even hough he is a “traditional” builder, somehow the tonal variety available from hi guitars, both negra and blanca, is actually suitably wide enough for classical and jazz styles as well.
I have to disagree with you guys on two points: First of all, I think most of us consider the 60’s and 70’s as a golden age of flamenco guitar making, so I wouldn’t mind having a mindset that refers to the guitars of Arcangel and Reyes et al. Second, I kind of bullied John into saying that thing about less tonal range in flamencos (I’m a flamenco player and I happen to believe that this is true about great flamenco, but that’s just me), and I think that John’s flamencos stand up to some of the very best out there, especially if you like that older Granada vibe. But as always, it’s a taste thing, so no guitar will be right for everyone.
Yet another selection of great videos. As a luthier myself, I always enjoy these interviewers, and shop visits. Its inspiring and humbling at the same time, and in many ways that is guitar making.