In essence, unless you are planning on being an professional performer, what you choose in make, model, scale length, setup on matters as long as it makes you happy. Do as you please...follow who you want. Classical guitar is a very complex technique that takes a lot of time and effort and probably is never fully achieved. So you choose what works for you.
Intune wrote:Parkening must have large and quite strong hands. I'd probably get tendonitis from playing his guitars for more than half an hour. For his part -- and to illustrate how opinions might differ -- David Russell prefers a soft, low action on his (650 mm) Dammann and would gladly trade a little power for easy playability, or so he said following a master class. This would seem an easier choice to make with a Dammann doubletop, which is relatively loud to begin with, than with a traditional Ramirez, which might be more dependent on long string length, high string tension, and a high action setup to maximize volume and tone. For what it's worth, I've heard that Manuel Barrueco, like Parkening, also plays long-scale guitars, but I don't know about his action setups. I do know that Israeli virtuoso Yuri Liberzon, a student of Barrueco's at Peabody who'd purchased one of the maestro's long-scale Rucks, had to trade it in after developing hand problems. What's my point? Each to his own, I suppose....
Any guitar will hurt your hands/arms/whatever if you don't use correct technique. Also I expect someone to be adult enough to react to the beginning of pain and not push it to the point of hurting oneself. Anyone going from lower action to higher action should expect a (little0 time to get use to the new tension. Evidently many don't. For those who use and believe there is a positive side that most don't seem to know. I'm just trying to tell that side. If it doesn't fit you and your style, ignore it.
What's the point? I play a 1991 Ramirez 664 de Camara. I've had it for about 7 or 8 years. My bass side is 6mm and treble is 5 mm throughout that whole time. I have not hurt my hands. I started in my 50's and am now 61. What can I do with it that David Russell can't do with his Dammann? I play in a guitar orchestra. One of our pieces is a three-movement Sonate en Sol Mineur by Vivaldi. The middle movement, Larghetto, ranges in volume from P to MP to MF to F to FF. The other two movements are fast...this movement is slow and mellow. Loudnesss is determined by the amptitude that the strings vibrate. The mellowlest of tones come when the string vibrates at a 90 degree angle to the fretboard/top. To go from the softest my Ramirez can play to the loudest I'm pushing from 1 mm (P) up to 6 mm (FF) and my strings are still vibrating on the optimum 90 degree plane. Think of two identical cars: car 1 has a gas peddle that only moves 2 inches and car 2 gas peedle moves 4 inches. Car 2 will be easier to drive in town where speed zones change by 5 or 10 mph at any one time. Car 1 might work well on the highway (wide open) but will be harder to find the inteval for the slower speeds. If DR's guitar is just as loud at it's loudest as my Ramirez then he has to work in fractions of a mm to achieve the same effect as I get. But probably his Dammann isn't as loud so to match my Ramirez he starts mellow until he runs out of action room and then has to start pulling the string at some angle more sideways (and much less pleasing in tone) to match what I do. It is one of many subtle lessons that Segovia, Bream, the Romeros, Parkening and others seem to have learned and many others, while good musicians, haven't.