Torres Comparison

I had some questions about the difference between two different Torres models which were available in my workshop for testing for a short time. After having three very good players put them through their paces here are the conclusions:

The SE70 is a bit easier to play and has a sparkle to it that the other one doesn’t have. It is really quite loud and you might even say explosive. At the same time you have to be careful how hard you push it. The basses are quite amazing and reminiscent of the original. This is the sort of guitar that you pick up and get excited about just because it is so very alive.

As for the SE153, the sound is slightly sweeter but also more controllable. The trebles have a fuller, thicker sound and it has more dynamics. According to one guitarist there is more sympathetic vibration from the guitar itself and from the strings. Sustain above the 12th fret seems to be better too. As a maker I like this one better because you can do more with it and I know from experience that it is not underbuilt.

The above is not surprising at all if you take into account the differences in construction between the two. The SE 70 is very lightly built, almost too much of a good thing. A thin top favours basses over trebles (usually) and is very good for volume. Two of the fan braces extend through openings under the lower transverse bar and possibly extend the vibrational area of the top. However, I strung it with D’addario J43 strings and that low tension makes a difference too. The saddle also might be a bit too low for its own good.  It is worth mentioning that this is the very first copy of the SE 70 that I have made. On the other hand I have been making the SE153 copies for 15 years and have managed to achieve something really special and sophisticated. As you can see from the picture the SE153 is maple and the SE70 is rosewood; there might be a slight influence there too.

Rare Opportunity – two sisters

This is a rare opportunity to try both of my Torres models while they are still in the shop for a short time only. The first is my SE153 which I have been making since 2005 and the other is a copy of SE 70 which I only recently was able to study and photograph. The originals are both used often in concert and can be heard on various videos and recordings. The two sound somewhat different because of construction details such as differing top doming, fan braces extending under the top bar in the case of SE 70 and a general lightness of build. The SE 153 is somewhat more elaborate in its decoration.

Visit from Madrid

Guitar-maker Yunah Park and Guitar Professor Javier Somoza visited the guitar exhibition in Granada today. I have always enjoyed their company, be it in Linares or in Madrid at guitar-related events. We all agree that it is about time we had a national guitar museum although we might not all agree on which city it should be in. I was able to introduce them to one of my favorite dishes at La Mimbre: avacado and prawn omelette!

Granada Guitar Festival

The programme of the Third International Festival of the Guitar in Granada was officially presented yesterday at the Peña La Plateria as a collaboration between the Granada Town Council, the European Guitar Foundation and the California State University. The lineup looks great and along with some great performers there are a few exciting new aspects. The guitar-making contest will include prizes for the best flamenco as well as for the best classical; two competitions in one. The other piece of news is that there will be two courses held for guitar-makers to choose between: René Baarslag and Manuel Cáceres. More information here. A lot of people will be very excited to see Mabel Milán, Pablo Milanés, Margarita Escarpa and the Romero Quartet. I am personally thrilled to see Javier Riba on the roster this year. He will be playing on July 18 at the historic house of Manuel de Falla. See the full programme here.

A Guitar Museum in Granada?

Yesterday (March 13) was the first day of the the exhibition of early guitars “Towards a Guitar Museum” in Granada. It will run until April 14 of this year. This show comes out of a desire to establish a permanent museum of the guitar in Granada (or anywhere else in Spain for that matter). All we really need is a permanent space to house these pieces. The inaugural event included an official recognition of the impact made by the original association Escuela Granadina formed in 1987. The members at that time were:

René Baarslag
Juan Miguel Carmona Trapero
Francisco Manuel Díaz Sánchez
Jonathan Hinves
Juan López Aguilarte
José López Bellido
Manuel López Bellido
Antonio Marín Montero
José Marín Plazuelo
Rafael Moreno Rodríguez
Germán Pérez Barranco
Antonio Raya Pardo
Paco Santiago Marín

José Pérez Mingorance D.E.P.
Bernd Martin D.E.P.
Manuel Fernández Fernández D.E.P.
Antonio Durán Zurita D.E.P.
Eduardo Ferrer Castillo D.E.P.

At that time they organized exhibitions, appeared in specialized magazines and books and took the Granada guitar to countries all over the world. The reputation and the quality of the Granada guitar today is a direct result of the individual efforts and the collective work of these makers. Too often we wait until death takes someone before celebrating his or her achievements. For this reason the town council of Granada and the Asociación de Guitarreros de Granada wanted to pay homage to these makers while they are still working in their workshops.