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The guitar

Many instruments that precede the guitar have been found in the most ancient of excavations that are the foundations of western culture. The finding of instruments with similar characteristics to the guitar, such as strings, resonant body and fingerboard that are part of Near Eastern ancient constructions proves that instruments that precede the guitar are as old as the West itself. In traces of ancient Egypt and the Roman Empire we can already appreciate clearer examples of stringed instruments that are not only accepted as the predecessors of the guitar but also as of many stringed instruments.

The form that these adopt is very varied but the most important material in its construction is wood of different characteristics which is still being used to the present day. Today we can find concert guitars made of ebony and German pine and cedar from Honduras or Canada. African rosewood is used in the more exclusive concert models and for the flamenco guitars Cyprus wood for the body back and sides.

The classical or Spanish guitar has Latin or Arabic origins but more than a musical instrument with European or Arabic roots, it should be considered to be an instrument that is born as a consequence of the contact between the Hispanic-Christian and Hispanic-Muslim cultures in the Iberian peninsula in the Middle Ages. It is during this period, where the first references to guitar makers is found, that they forge in their sound a reflection of their own vital footprint.
The number of strings, size and how each element is arranged in construction variations throughout the following centuries will give way to the different type of guitars that exist today.

The Burguet guitars

The guitars that Burguet makes are divided in to different models of classical or Spanish and the variation for flamenco or flamenco guitar without forgetting one off models such as the 10 string concert guitar or the 'Romantic' guitar.
Amalio Burguet, after years of experience applying masterly methods in the construction and innovation of the guitar, looks for the ideal sound for each type of guitar.

In the classical guitar the timbre is a priority more than the strength of the sound which needs a more involving sound where the sustain of the note is longer which is why it needs a bigger body and the use of dense woods and the optimal distance between the strings and the fretboard allows bigger vibration.

The flamenco guitar on the other hand looks for more strength and volume of sound than the classical guitar. For this we use different woods, play with the different harmonic struts in the interior of the body that is narrower in order to obtain a sound that is less nasal, bright, trebley and percussive. The strings are also placed lower to the fretboard to allow it to be faster and more agile.

Care and Maintenance

A Burguet guitar is a guitar of quality and precision, a instrument that need specific care in order to conserve it obtain its optimal performance.

  • One of the main pieces of advice to take in to account is to avoid it being struck. For this it is advisabel for it to be kept inside its hard case whilst not in use.
  • Try to keep the instrument between 40 and 60% humidity and try to avoid excessive dry or humid atmospheres and also quickly passing through dry to humid or vice versa or abrupt changes of temperature or being exposed to to extreme heat sources.
  • It's advisable to loosend the strings when travelling in an aeroplane due to the changes of pressure.

  • For the wood care do not use any product that has alcohol or solvents. It's enough to wipe it softly with a damp cotton or microfibre cloth.
  • It's a good idea to grease the machine heads with a little oil like that used for sewing machines.
  • The strings, above all the basses, can lose sound due to dirt that is caused by sweaty hands. You must wash your hands if possible before playing the guitar.
  • Finally, it is a good idea to have the guitar tuned in the same key and not to change the strings all at the same time but one by one, tuning it up each time.

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