We don’t get the concerts, masterclasses and guitar shows that this city deserves.  With all the great guitar-makers and so many guitarists coming through to buy guitars I think we could find enough public for these sort of events.  I try to publish here any events that celebrate our great tradition and this is one of them.

Marco Socias is from Málaga and these days teaches in one of the most prestigious music schools in Spain, Musikene in San Sebastian. http://www.conservatoriosuperiorgranada.com/29-abril-1-de-mayo-curso-de-guitarra-marco-socias/  There is not much information on the conservatory’s webpage but it does say that registration should be carried out at the Angel Barrios Conservatory.

I have used a pot with a glass placed inside to heat my glue for the last 200 guitars and although it has worked very well, I have always assumed that a proper glue pot would be a step up.  I finally ordered one and have used it and discovered that each method has its advantages.  The method I learned for installing both rosettes and bindings depends on having a hot, wet hammer to press things into place with as a last step in the gluing process.  I am sure there is another way to do this but I like this method so i will be using my old glue pot for those jobs.  Another advantage is the larger cuantity of hot water for cleaning hands, and brush.  Of course the new glue pot is less bulky and is used without the hot plate and so I like that too.  Hopefully this illustrates both that tradition has its place and that newer is not always better.

How many of you have “A Collection of Fine Spanish Guitars from Torres to the Present” in its first edition. A friend just sent me the second edition and although I have had a flip through its pages I am eager to read it all. There are at least 16 new guitars in the collection, the technical details are much more comprehensive, some rare documentation has been included and almost 80 guitars were recorded professionally on the accompanying 3 CDs. I am sure it is available elsewhere but Richard Bruné’s workshop is one place to get it.  This edition is immediately recognizable thanks to the green background on the collage of the labels as opposed to the red of the first edition.