list of players who play Smallman guitars in the last 15 year.
Bridge Kaldro Music-Bridge Classical guitars
J.W.
Craig Ogden ( cover on Cd)
Benjamin Verdery ( seen his in New York a few times)
Bridge Kaldro Music-Bridge Classical guitars
J.W.
Craig Ogden ( Cd cover)
wollybird
Xufei Yang. Stephan Rak, David Tannenbaum Must be a bunch of others,
but I'm too lazy to google
wollybird
Larry Deack
> Here- Sort them out:
>
> http://www.geocities.com/hyz_sg/theguitarsofnotableclassicalguitarists.html
That's a very good list but it's not complete.
For example Andrew York has played on a Matthias Dammann and on his
site he talks about his recoding with Segovia's 1931 Hauser.
http://www.andrewyork.net/mp3_hauser.html
In the real world you can actually play these guitars and compare
them for your self. It's not that difficult to meet top players and
luthiers and play great instruments if you really want to do this.
Nobody needs take the word of anybody on RMCG, especially when they
have a financial reason to promote their own views.
Tashi
Bridge Kaldro Music-Bridge Classical guitars wrote:
Surely Ed you can come up with more than 3.... Tanenbaum doesn't
count, as he sold it a good 7 years ago, or so.
Better yet, why don't you start a list of famous players who bought
one and then sold it? you might have a higher count.
MT
David Schramm
> For example Andrew York has played on a Matthias Dammann and on his
> site he talks about his recoding with Segovia's 1931 Hauser.
I know the 1931 Hauser quite well. I helped recover it after it was stollen
several years ago. I got to play it again last week. There is a story in an
upcomming issue of one of the gutiar magazines that is featuring the story
of its recovery.
--
David Schramm
Clovis, CA
http://schrammguitars.com
http://onlineapprentice.com
David Schramm
Nick Goluses, Ulf Golnast, Julian Byzantine, Carlos Bonell, Aaron Brock,
Wang Yameng, Jacob Cordover, Larry Ferrara, Timothy Kain,
--
David Schramm
Clovis, CA
http://schrammguitars.com
http://onlineapprentice.com
John E. Golden
>> For example Andrew York has played on a Matthias Dammann and on his
>> site he talks about his recoding with Segovia's 1931 Hauser.
>
> I know the 1931 Hauser quite well. I helped recover it after it was
> stollen several years ago. I got to play it again last week. There is
> a story in an upcomming issue of one of the gutiar magazines that is
> featuring the story of its recovery.
Wasn't Segovia's famous Hauser I guitar made in 1937? Did Segovia have two
Hauser I's?
Regards,
John E. Golden
David Schramm
> Wasn't Segovia's famous Hauser I guitar made in 1937? Did Segovia have
> two
> Hauser I's?
Yes, the most famous of his Hauser guitars was the 1937, but he had several
before and after that one. The 1937 is the one he officially accepted. The
earliest concert program that indicates the guitar is by Hauser is dated
1929 and 1931. You can read my research paper on "The Definitive Elements of
the Hermann Hauser Spanish Guitar" that was published by the Hauser family
on their official web site. I have copies of the programs that list the
dates.
Luteboy
He had 3 Hauser I's, 5 Hauser II's and one Hauser III. The 1929 Hauser
I was lost when Segovia fled his homeland during the Spanish Civil War.
The second guitar made in 1931 was stolen and the last Hauser I was
made in 1937.
http://www.guitarfoundation.de/downloads/presse/text_pdfs/126_years_of_hauser.pdf
John Nguyen
Plus Su Meng and Lukasz Kuropaczewski.
Cheers,
John
wollybird
Tashi wrote:
>
> Surely Ed you can come up with more than 3.... Tanenbaum doesn't
> count, as he sold it a good 7 years ago, or so.
7<15
wollybird
Now, if you want to count lattice tops, someone need to count Simon
Martys....
jeff carter
John Nguyen wrote:
> Plus Su Meng and Lukasz Kuropaczewski.
Is Lukasz playing a Smallman now? When I first met him in '04 at
Peabody, he was playing a Boguslaw Teryks doubletop. In fact, Teryks
was at those masterclasses, and after one of the sessions Lukasz and
Manuel compared two of Teryks' guitars alongside Manuel's Dammann.
David Schramm
> Martys...
Simon uses radial bracing.
John Nguyen
He played a Smallman in Philly in 04. I still remember his Rosinisiana
playing with amaIng clarity and agility, dynamics too, he took full
advantage of the instrument's danamic range. What a player!
Cheers,
John
Bridge Kaldro Music-Bridge Classical guitars
Tashi wrote:
> Bridge Kaldro Music-Bridge Classical guitars wrote:
> > J.W.
> > Craig Ogden ( Cd cover)
> > Benjamin Verdery ( seen his in New York a few times)
>
> Surely Ed you can come up with more than 3.... Tanenbaum doesn't
> count, as he sold it a good 7 years ago, or so.
yea in my poor drunken grammer last night I did say 15 years . . :>)
but I should have said "played in the last 15 years, I'm very sorry..
.
the question is: why did these people on the list below choice to use a
Smallman ,at one time in their lives .Even the women (Xufei Yang) "pick
up" a Smallman and who according to our junk email they like
"Largeman." ha ha
I don't know answer,
so right now we have a list of
J.W.
Craig Ogden (
Benjamin Verdery
Xufei Yang. Stephan Rak, David Tannenbaum Nick Goluses, Ulf Golnast,
Julian Byzantine, Carlos Bonell, Aaron Brock,
Wang Yameng, Jacob Cordover, Larry Ferrara, Timothy Kain, Su Meng and
Lukasz Kuropaczewski.
Ed Bridge
Bridge Kaldro Music
Full line Music Store with Internet prices
2890 N. Franklin st.
Christiansburg VA
24073
www.bridgekaldromusic.com
Tashi
Just got off the phone with Michael Chapdelaine who happens to play
a double top steel string guitar, and loves it. He said Matt had a
lesson with him a couple of days ago, and Michael got to play his new
Smallman.
I asked Michael what he thought.... he said, he told Matt to sell
it. Michael said if you like a monotone sound I guess it's good, but
it was nothing he could make real music on.
On another note.... John Williams is probably my all time favorite
player. I last saw him in concert about 10 years ago in Santa Fe. I
sat in the front row. After the concert a few of us went backstage.
John seemed in a very talkative mood, and a friend of mine started
asking questions about his guitar. The one thing Williams was
absolutely insistent about was the wood used in the back and sides of a
guitar had no tonal effect on the quality of sound, and went on to say
there was no difference in a guitar made from Brazilian rosewood or any
other rosewood.
Now with all due respect to JW, I have to disagree, and I know many
others who would also disagree....... Who is right? Does someone who
is world renowned have the best opinion, or do others count as well?
MT
John Nguyen
Hi Micheal,
I'm not a real luthier, so I may be talking out of my rear end here re:
guitar construction. But theoretically, the guitar side and back are
supposed to be rigid, right? The body is meant to be a very lousy
resonant box, and sound reflection inside should be neligible if not
totally cancelled - again I'm hypothesizing in an ideal condition. With
that assumption, I would incline to say the wood used in the sides and
back o the guitar shoud have no tonal effect. I'm wondering if anyone
has done an experiment to prove this. I thought some of the high end
guitars have laminated sides and back to improve the rigidity
attribute, and I would imagine the Brazilian rosewood was use
originally to achive the same goal - to provide a better rigid body. As
a luthier wanabe, I'm still struggling with my first guitar, and I
would love to know more on the real effect of wood use on guitar's side
and back.
Cheers,
John
Tashi
John,
All I can say is you either sense it or not, there are many
woods that suppliers sell thesedays claiming they all sound like
Brazilian. Everything is compared to it. I'm not claiming BR is
better than anything out there. Many people prefer the sound
combination of East Indian and cedar, as the Indian cuts down on the
highs and gives more emphasis on the fundamental. Spruce and Brazilian
are a great combo for those beautiful high overtones.
A good maker understands this and can compensate by doing different
things. Maybe other makers have thoughts on this.
MT
MT
John LaCroix
[Disclaimer - I'm not an expert or authority on this subject but here
are my thoughts, anyone else more knowlegeable feel freee to chime in
and clarify/correct me if I'm wrong.]
If it's a rigid body you want try a guitar made of concrete or steel -
I don't expect the sound to be so hot. I don't think Brazilian is
chosen to provide a more rigid body - I think it is used because of its
low damping qualities. I think a body that is meant to e a 'very lousy
resonant box' would probably = lousy guitar.
The box works is some ways as a resonant chamber (like a speaker
cabinet), but the back (on traditionally constructed guitars) can
vibrate and interact with the top. Ideally, when you play the CG you
don't hold the back tightly against your body lest you restrict it from
movement. Next time you play do an experiment - play a bit with the
back free to move and play the same thing with it damped and see if you
can hear a difference. In my experience, when the back is restricted
the sound is more 'tight'.
Now when the back vibrates it interacts with the vibrations of the top,
and this interaction can be either in phase (works with the top), out
of phase (works against the top), or something in between. Many makers
'tune' thier backs to establish a fixed relationship between the top
and back (I don't because I'm not good enough to do so yet). The sides
contribute relatively little if any at all to sound production.
In addition, the volume of the box, size and location of the soundhole
establish the fundamental 'air mode' frequency of the box (blow across
the sound hole and figure out what note it is - I still can't do this),
which underlies everything else that is going on with the top and back.
Now with everything that is going on, can you see how hard it is to
generalize and say that Brazilian is great for this vs. Mahogany vs.
Indian Rosewood vs. whatever? There are many variables in the equation
and the materials are just one of them. And, oh yes - not all pieces of
Brazilian rosewood behave the same, even comming from the same tree!
The maker has to consider materials + design + vision of end product
and adjust the variables accordingly.
John L.
David Schramm
> Just got off the phone with Michael Chapdelaine who happens to play
> a double top steel string guitar, and loves it. He said Matt had a
> lesson with him a couple of days ago, and Michael got to play his new
> Smallman.
> I asked Michael what he thought.... he said, he told Matt to sell
> it.
I'll trade him a 1998 Hauser III for it.
http://schrammguitars.com/1998hauser.html
Tashi
David Schramm wrote:
> > Just got off the phone with Michael Chapdelaine who happens to play
> > a double top steel string guitar, and loves it. He said Matt had a
> > lesson with him a couple of days ago, and Michael got to play his new
> > Smallman.
> > I asked Michael what he thought.... he said, he told Matt to sell
> > it.
>
> I'll trade him a 1998 Hauser III for it.
> http://schrammguitars.com/1998hauser.html
Matt's leaving for France in a couple of days to study with Deyens (
sp?). I'll try to get word to Michael C but he's on tour.
You might be in luck, although Matt likes the Smallman, he expressed
to me, he doesnt see it as his life long companion, that he sometimes
misses things in traditional guitars.
BTW, I asked him if he felt it had lost anything in the sound from when
He first got it, he looked at me rather strangely, pondered for a
while, and said no.
MT
David Schramm
DS
Tashi
David Schramm wrote:
> How did it sound?
>
> DS
OK.... I shall speak freely, yet know these are the thoughts of one
person, namely me.
Concerning the Smallman. I must say I prefer to have my musical
sensibilities tickled with a feather, than banged over the head with a
hammer! As a builder I consider myself to be a connoisseur of
guitar.and guitarists, as most on this forum are as well.
I've only to this day herad 3 Smallman's.... the first was Benjam
Verdery at the GFA in 89, in which he played the first half on a
Smallman and second on a Ching. The Ching was unanimously declared the
victor in that concert by everyone I spoke to. Verderys Smallman was
the muddiest, darkest, thick sluggish, loud guitar I'd ever heard up to
that point.
Second was Willaims, who would sound great playing anything, but as I
said I haven't bought a recording of his since he began recording with
it.
Third was Matt Rohde's last Saturday. Agian a very dark, monotonish,
nasaly sound. The highs where lacking in the trebles and at times it
was hard to hear a seperation of one note from another in the dark
ambiance of sound. As the concert went on I found myself craving one
morsel of an overtone, and brillance.
The basses were big and boomy, and held precedence over the trebles
that lacked sustain. When played softly the Smallman seemed not much
different in volume than any other guitar, however when he played with
Forte one could preserve the loudness, to the point of distortion, thus
forcing a Smallman player to constantly play at the upper realms of
forte, just as a heron addict must up his dosage each time to maintain
this constant high.
Matt's musical sensibilities are refined and dynamic, and his passion
is contagious. I didn't get into too much post performance guitar talk
as we all seemed more interested in the beverages we were consuming,
and even to this connoisseur of guitar was infinitely more interesting,
than guitar talk.
MT
David Schramm
In the past three years I have heard Verdery and Nick Goluses on Smallman
guitars. Nick sounded fantastic on his Smallman. The best I have heard
anyone on a Smallman. A year later I heard him on a Dammann which wasn't as
good a sound as his Smallman. When I heard Larry Ferrara around 1996 or 1997
he played a Smallman which had incredible bass sustain. I recall that when
he played the Bach you mostly heard the bass line. Great sound but not
balanced. A great Williams cd is "The Guitarist" . Also Aaron Brock's cd is
very good.
Tashi
David Schramm wrote:
> MT, Thanks for sharing your review.
>
> In the past three years I have heard Verdery and Nick Goluses on Smallman
> guitars. Nick sounded fantastic on his Smallman. The best I have heard
> anyone on a Smallman. A year later I heard him on a Dammann which wasn't as
> good a sound as his Smallman. When I heard Larry Ferrara around 1996 or 1997
> he played a Smallman which had incredible bass sustain. I recall that when
> he played the Bach you mostly heard the bass line. Great sound but not
> balanced. A great Williams cd is "The Guitarist" . Also Aaron Brock's cd is
> very good.
If I were to say something positive about Smallmans, It would be the
response. I suspect when it's all said and done, this is why people
like them. There is something very seductive about this aspect alone
that will over ride everything else.
Not to continue too much on this topic, however, I just now
remembered, a few years back Rapheal Andia bought a guitar of mine
through a good friend of his, and mine. My friend told me Rapheal's
previous guitar had "self destructed".... those were his exact words.
This guitar was by an Australian maker whom I've totally forgot the
name of, and was some type of carbon fiber design.
I don't personally believe Smallmans do such a thing, and have never
heard of incident like this. However, stories like this, add fuel to
the Smallman " myths", and people tend to wrap it all up in one
package.
MT