Classical, Spanish & South American Guitar Jewels

Tosta, I agree. I think it takes some time and relaxation for young players to develop so they are easily recognizable. Or, is it that we need to hear them often?

Ptss,

the players of old each had a "signature sound." I don't know why, but on stringed instruments these days everyone sounds so very similar for the most part. There are a few exceptions, but it's hard to tell most of them from just a few seconds of listening.

I think the overall quality of guitars is better today, maybe becoming more similar. I find they are getting more powerful/solid- sometimes almost bigger sounding. This may make sounds more similar. What do you find?

I agree, but some makers have gone off in totally new directions which don't please everyone. I'd rather hear John Williams on his old Fleta than on a new Smallman. But, yes, overall it's a golden age for lutherie--for all instruments, it seems. There are some astounding violins and mandolins, for instance, being made these days.

I agree with Tostados' preference for Fleta over Smallman. But how often do you get to hear a master play in a small room without amplification? (answer: virtually never.) The modern "loud" guitars (e.g. Smallman) don't seem to have quite the same beauty of tone as more traditional designs They are designed for projection in big auditoriums. I don't really understand why Williams would play a Smallman on record. Perhaps he agrees with Jerry Garcia, on The Pizza Tapes, where he said, "Louder is better. On this planet, louder's better."

I like almost everything by John Williams, Michael Chapdelaine, Elliot Fisk, Laurindo Almeida, Joe Pass... there are many great players.