[ronjazz@mac.com]

Very generally speaking, cedar tops tend to need less time to come to maturity, while spruce tops take a while to break in. A new cedar guitar will keep much of the original sound, while a new spruce top will develop with the playing, thus taking on more characteristics of the player.

[ssante]

I have 2 flamenco guitars and 1 Classical/Negra (hybrid):

Yamaha CG171SF that I had the action lowered to 2.5mm at 12 fret low E, Bone saddle and nut installed, and swapped the tuners to Shaller Ebony. Its a great (beater box for flamenco). SP (solid)/CY(laminate).

My other guitar is a 2009 #8 Tomatito Aquadulce guitar build Vincente Carrillo and Designed by Carrillo, Rodriquez, and Tomatito. Its an SP/CY and a great tone that is lyrical and strong.

My Negra is actually a 2006 Vowinkle/Picado 2a SP/IN which has the action lowered to 3.5mm at 12 fret low E. While its a classical guitar it has alot of clarity, brightness and depth to the tone that can serve well as a hybrid Negra.

[at_leo_87]

i have a manual rodriguez c3f with soundports.

i started off a few months ago with what i like to call my "faux negra" which is really just a cheap classical with golpeadors and lowered action. i drilled a hole in that one too.

[Estanislao]

I've mentioned themelswhere, but.

I have two classical guitars. The first is a Blueridge BR-C, probably from early in the brand's history. It is cedar topped with mahogany sides and back and rosewood fretboard, etc. The finish is matte and it has a nicely dark sound, something I like for a tarantas or mineras. The other is a chinese made guitar, an Olinda OC 100. It is modelled on the Brazilian tradition and has a spruce top, mahogany sides and back, rosewood fret board etc., and gold hardware.

Since the action on that one is closer to the top than a standard classical guitar, I guess because the most outstnading makers they used as their model were flamenco trained in Spain. So the sound is a bit earthier than one usually gets in a classical guitar. I've actually held a Ramirez in my hands and played it for a test and that Olinda of mine comes about as close to that purpose-made flamenco guitar as I guess I can expect for a guitar in the two to threehundred dollar range.

And there is a tragedy right there. That Ramirez was a guitar from the 70s which had the percussion plates ripped off the top. The owner wanted sevenhundred dollars for it and has come down to six-fifty. It is not a top of the line model, but I still wish I had five to offer them. The top would need to be refinished and new plates glued on, but I think it would have been worth it.

[aziton1]

wow this is really amazing guitars
as for me, I don't know if u r gonna laugh at me for I have a standard Yamaha CM40 , but I really love it.

[Black Sheep]

Mine's a 'Blanco' made by Perez Barrinco made in Granada.

And aziton1... if anyone laughs we'll strangle them with an 'e' string...

[Payul]

Originally Posted by Black Sheep

And aziton1... if anyone laughs we'll strangle them with an 'e' string...

Wich brand? LOL

Payul

[Estanislao]

Originally Posted by aziton1

wow this is really amazing guitars
as for me, I don't know if u r gonna laugh at me for I have a standard Yamaha CM40 , but I really love it.

Compared to my Olinda your Yamaha would be considered a better guitar by most. So don't be so embarrased about it friend. wahtever works for you is good, no matte what tohers, and I don't mean just here, might say.

Estanislao

[David Gonzalez Sr.]

Hello, I recently inherited a near mint condition 1970 Japanese made Tamura C40 signed by Hiroshi Tamura. I dont know ANYTHING about its place in the Flamenco guitar world, or its monetary value other than it is priceless to me. If you have any information on my guitar, PLEASE let me know about it??? Ide really appreciate it!!!

[Payul]

Hi David,

Here I found something about your guitar maker
1967 tamura guitar on Flickr - Photo Sharing!


Payul