Which instrument is right for you?
There are different models of guitar, with different shapes and sizes. The ideal is for the musician to choose the model considering the style he wants to play, but also his physical size, that is, to evaluate instruments appropriate to the size of his arm and hand.
In the case of steel string guitars (which I call folk guitar), I provide the most common formats, which are, in order of size, as follows:
0 - It's the smallest size I make, which is the TROUBADOR model. It is suitable for those with smaller hands and shorter arms. Despite its smaller size, it has incredible projection and volume, with a very unique timbre, which makes it excellent for recording and use at home.
00 - It is slightly larger than the previous size, with similar sound but with a boost in mid-bass. The model I make in this size is FIRE AND RAIN. It can be made in two scale sizes, for small or larger hands.
000 - This instrument is closely associated with the American blues, as it has a body shape that resembles that of a classical guitar, long scale and 12-fret neck joint, which makes it perfect for use with bottleneck slide. The tone is classic! If you liked it, check out my TEQUILA SUNRISE model.
OM - It is the favorite model of contemporary jazz musicians, because it offers a very cool, very balanced tone, with excellent projection and ergonomics. It is also my favorite traditional model. The size of the body is comfortable without being too small, and the scale, while long, doesn't pose much of a problem even for those with medium hands. I make two models based on OM: the elegant AVANT-GARDE model and the luxurious RAJ model. Which one do you like the most?
J - Jumbo model is the biggest guitar size I make. Features a slightly larger body size than Dreadnought with the same powerful sound with an emphasis on mid-bass. I make this model also with long scale, to take full advantage of its sound potential. Check out the GRACELAND model page and see if it’s your thing.
In the case of the nylon string guitar (which I call here classico guitar), I make basically the same model, but in two different sizes:
C - It is the concert guitar, with Torres standard size and long scale, suitable for those who have medium to large hands, with great projection and ambience and crystal clear tone.
C ¾ - It is a small version of the standard model, with smaller soundbox and short scale, especially designed for those with smaller hands and arms, and is ideal for teenager music students, as it facilitates the performance without compromise of sound.
Size comparison by format
In addition to these, I also make two other models that are a little different from what you normally see around:
My model ARETHÉ, has a size equivalent to the OM, but with a different contour, with more elegant and smooth curves. Its timbre is unique, as every small change made to any part of the guitar implies changes in its sound. However, the shape and sound are far from being the only difference between it and a traditional OM. Take a look at the ARETHÉ to find out about all its differences.
In addition to traditional folk guitars, I also build my Weissenborn-style lapsteel version, which I called KOHALA. This is a very peculiar instrument, which is played in a different way, on the lap, with a steel slide. Not everyone knows about him, but everyone who knows him falls in love with his incomparable sound. My version is based on the model created by Hermann Weissenborn, but using only Brazilian wood in its construction. It's worth knowing the model KOHALA.
In addition to size and model, there are other factors to consider when choosing a model. Woods, ornaments, types of frets and pickups are some factors that affect the price and need to be considered. There needs to be consistency in the choice, because what matters and makes a difference for those starting out in music is different from what a professional musician really needs, which is also different from what interests the guitar aficionado and collector. I recommend reading of this article that I wrote in which this topic is treated a little more in depth in another context.
But generally speaking, everyone needs instruments that sound good, are tuned across the entire range and are comfortable in the hands.
Different combinations of woods as well as different models will produce different sound power and timbre, but in all my instruments you will notice that the notes present an adequate balance between fundamental frequency and secondary harmonics, which can be noticed in the well-defined sound of the musical note, with body (weight) and personality (nuances) but without the exaggerated prominence of bass and treble, and mainly with uniform presence (volume) across the entire scale, that is, without “weak” notes here and there. My guitar is made to be extremely responsive and express the musician's personality: touch lightly with your fingers and the sound will be sweet, delicate and defined; Play with heavy picking and the sound will be firm, powerful and yet also defined.
I am very concerned that my guitar is as in tune as possible, so I compensate for the string length at both the saddle and the nut, in addition to ensuring that the frets are placed in the place that offers the best possible tuning relationship for that instrument. In fact, current technology has enabled us to refine the traditional model used for centuries, so I use the most modern in this matter. After stringing the instrument, I accurately check the frequency of all notes in the scale to be sure that the objective has been achieved.
Finally, there is no point in having an instrument that sounds good and in tune if it is poorly designed from an ergonomic point of view, with an uncomfortable neck, or excessive weight, unbalanced in terms of the center of gravity, or if it is not properly adjusted for good playability. Well-placed, level and “softened” frets are guaranteed on all my instruments, whatever the model and price. I only deliver an instrument after methodically testing it for a week, so that the quality of the strings can be assured and final adjustments to the truss rod, saddle and nut can be made after the tension involved is properly stabilized.