I've been saying that I'd do this for a couple months, today I finally posted a clip of the Borges.

http://web.mac.com/ericlambo/iWeb/Site/Borges%20Audio_files/Borges_OM18_GG.mp3

This is an underscore for an upcoming film and intentionally a bit monotonous, but you'll hear the guitar plain as day. (I'd like to keep this low-key, so please don't spread the word about the clip. Technically, it's copyrighted material and only meant for the Collings folks to hear)

The Borges is Golden Grain Mahogany with Adi top. For the techies, it was recorded with a Neumann KM54 pointing towards the 12th fret and a Wunder CM7 pointing towards the soundhole, in ORTF, using matched John Hardy Twin-Servo preamps. I don't know of a better possible recording chain than this (with the "possible" exception of using a 2nd KM54 instead of the Wunder), so shortcomings in the recording are due to Ol' Noodlefingers here.

Thanks for doing this, Eric. It's an interesting contrast with my OM-28. The tone has a little more air in it ... perhaps a bit less low end ... great clarity ... not quite as much in the overtone department. All of that is to be expected, of course, given the usual mahogany vs. rosewood differences.

It sounds every bit as good as it did when I played it at Kim's. Or when I held it at Kim's, anyway (it sorta plays itself).

Pretty piece, too. Nice job.

Great! Thanks.

quote:

Originally posted by mwilkins:
Thanks for doing this, Eric. It's an interesting contrast with my OM-28. The tone has a little more air in it ... perhaps a bit less low end ... great clarity ... not quite as much in the overtone department. All of that is to be expected, of course, given the usual mahogany vs. rosewood differences.

It sounds every bit as good as it did when I played it at Kim's. Or when I held it at Kim's, anyway (it sorta plays itself).

Pretty piece, too. Nice job.

The air you're hearing might be the KM54. It's the most open sounding mic I've ever come across. Not unnaturally so, in fact it's very true to reality, making other mics sound a little sheltered by comparison. So that's where I give the credit.

You might remember more bass than what you're hearing on this recording, but keep in mind that you probably haven't heard it on a recording before. There's certainly less bass here than when you're holding it in your lap, just as expected, but the bass is actually very pronounced. Considering the fact that it's an OM, that low end power is one of its greatest assets. That and the inherently woody tone. The other thing I tend to notice this Borges has that other guitars don't is the force on the initial attack of each note. It's more powerful and complex right at the initial attack, then it blooms into a sustained note. Very efficient at transferring energy. That might be part of the "it plays itself" you were referring to. Yes, it does do that. It's not that it's particularly loud, but a simple tug of the strings generates a ton of energy. Great for fingerstyle. And you can hear in this clip that it holds its own when strummed with medium force. Not thin by any means. Very balanced. This was strummed with my finger, not a pick. Picked, it still never gets harsh, just louder and more forceful.

I should also add that I haven't compressed this track. Typically acoustic music like this would get a little compression so that the overall track is perceived as louder and more even. I was trying to keep it natural for the sake of the demo. During the mix I will probably compress a little. Maybe some eq, but it wouldn't need much, if any.

Your comment about blooming into a sustained note is very well-said. The first thing I noticed with mine compared with the OM-2HA was the immediate depth / fullness of tone ... and then I sorta kept expecting it to fade, but it just expands a bit ... and then stays.

And stays.

But without being mushy sounding, if that makes sense.

The sustain, richness of tone, and basically effortless playability are the main things that stand out in my mind with these guitars -- both yours and mine. I also very much like the fact that the trebles aren't thin, which is something I've noticed with virtually every other OM I've played.

Anyway, like I've noted elsewhere, that Golden Grain is the first instrument I'd ever played that made me think an OM might be worth having (having been a longtime 00/000 fan).

Thanks again for the clip.

quote:

Originally posted by mwilkins:
I also very much like the fact that the trebles aren't thin...

Great point! I missed that one and it's entirely true.

Man, that sounds great. Whatever you're doing (mics, preamps, etc.) it works.

Sounds wonderful, Elambo.

I met Julius recently at the Montreal guitar show (he wasn't exhibiting, just visiting). We all got kinda drunk and sang songs, badly. There was one guitar casualty that I'd better not mention. It was a fabulous night. I've always lusted after a Barndance model and now I know what a genuinely cool guy the maker is, I'd love one even more. I'm not jealous... just happy for you. Honest.

Peghead
I have a Barndance, and it is a wonderful guitar. Mine is Rosewood, but it has a very fundamental tone, without the usual lushness of rosewood. It's almost a cross between mahogany and Rosewood tone wise, which for me is perfect.
It is very much it's own guitar. One of a kind.
It was inspired by a 30's J/AJ 35, but that was just a starting point for some obvious refinements. It shines as an example of what a classic design becomes in the hands of an exceptionally talented builder.
This guitar will be handed down to my children.

It's great to hear he's a good guy as well.
Tom

Isn't that a fascinating tone.

The tune is somewhat on the magnetic side. I really enjoyed listing to your guitar and the recorded song. It sort of draws itself along.

It is richer than I thought a mahogany would be I think. Unless that's the recording process.

thanks so much for your efforts Eric.

Stuart

quote:

Originally posted by Stuart:
It is richer than I thought a mahogany would be I think. Unless that's the recording process.

Nope, the recording process isn't adding anything, it's very true to the actual tone. I went to great lengths to do the best I could in that regard.

Honestly, when I first started searching for a Borges I didn't take this one very seriously because it was mahogany and I wanted something warm and woody like rosewood, but after hearing the rave reviews and talking to Kim Sherman I was confident enough that it was at least worth a try. I knew inside of 30 seconds that it was indeed a special piece of mahogany and unlike any others I've played. Very punchy, like you'd expect, but also very warm and full.