Hi Ken Whisler,
Ken Whisler wrote: ↑
Sat May 18, 2019 2:21 am
Tonit wrote: ↑
Thu May 16, 2019 12:28 am
Just my personal opinion.
Interesting. Some years back, I was showing one of my guitars to a friend of a friend who is a highly regarded flamenco guitarist. To my ears, and I am biased, it sounded amazing under his fingertips, but he politely handed it back to me and said, “Too ringy.”
While I kind of understand your friend's response, it seems it matters less in Spain as to with which guitar you play flamenco. Cedar tops, higher bridges, maple necks... any guitar is a flamenco guitar if the player is playing flamenco.
For me, my ideal in terms of the dynamics at this moment would be, sharper and piercing "attack" decaying fast enough, then the tone becomes stable and ringer longer at sufficient volume would be ideal. This saves me frustrations when I need to go fff it can take as hard as I pluck with its ample headroom and without breaking, at the same time allowing me to go gentle and deep and sound full enough for whole note harmonies.
IMPO the sharp attack sounds harsh in a bedroom, but it moves the air in a pub or auditorium acoustics well enough and pleasant.
While I am explaining to you, I just noticed my ideal sounds like how a compressor works. I hate any compressor on acoustics but is a must for old school RnB compings like Paul Jackson Jr. or Ray Parker Jr. That's the "compressor" I like and am comparing to my ideal flamenco/classical guitar sound.
Being honest I do not know so much about flamenco guitar tones, but for classical, I need stronger bass of cedar most of the time but not always. The cedar guitar bass tends to be too loose and kind of airy blurry so I need it tighter and focused.