The Optimal Perception supporting musical expression
« I'd like to hear myself playing as if I were sitting in the audience. » This is a leitmotif for most guitarists when it comes to grasping a new instrument. It is indeed perfectly legitimate for a performer whose main aspiration is to convey to an audience through his playing, a bunch of delicately crafted emotions in the most faithful manner (as a result of long and rigorous practicing). But it is no less pertinent for an aficionado less prone to performing in public, to care about the fidelity of his musical interpretation as it is simultaneously heard by himself and his audience.
Creating innovating instruments like the « Recital » and the « Maestro », inevitably unsettles some strongly rooted centuries-old principles. In fact, this new design showcases the fact that contrary to a preconceived idea, the guitar soundhole doesn't play the role of forming and transmitting sound, and therefore doesn’t have to be located on the top. To prove this point, it is worthwhile noting that when played by great concertizing artists my guitars have delighted the best informed audiences.
Nevertheless, this opening is a crucial determinant to the right “breathing” of the instrument, by freeing the vibratory movement of the top, which is the real omnidirectional generator of sound.
Consequently, I have strived to optimize its location, and choosing the sides has also endowed it with a new function, as a monitoring device for the guitarist.
In addition, since no detail is to be spared, the elegant design of the headstock offers a novel double articulation that restitutes part of the energy which is transmitted through vibration of the strings, thus enhancing sustain and harmonic fullness. Furthermore, it endows the 3rd and 4th strings with higher density and dynamics in order to improve even more the middle register of the instrument.
I am proud to see day in day out through my meetings with guitarists from across the world, how entrenched beliefs for far too long tend to evolve and progress in leaps like execution technique or scientific knowledge.
The « Recital » and « Maestro hf » guitars offer to guitarists from all horizons, amateurs or professionals alike sound deepness and sustain, harmonic richness and color variety, but equally projection, power and dynamics, all of which are essential qualities for extensive artistic expression.
Today, with the concert classical guitar “Maestro hf” a new step is crossed. It does of course possess all those characteristics that shape the “Burlot sound”, but it goes farther by henceforth offering homogeneity in perception (guitarist/audience) unequaled until today.
My research has been conducted on a configurable prototype of a Burlot guitar, as well as on two traditional classical guitars of different grades, then it was finally validated on several life-size “Maestro hf” concert guitars...As the outcome of a long series of tests undertaken in an acoustics lab, according to a strict and sophisticated protocol commissioned to a team under the supervision of Mr Fabrice Pierron (university professor and research team leader in the Mechanical and Manufacturing Processes Department of the reputed ENSAM Institute -École Nationale Supérieure des Arts and Métiers-), the concert "Maestro hf" guitar offers to the player and to the listener an unequaled spectral homogeneity.
It becomes now possible for the musician to convey in the most reliable fashion the tiniest expression of a musical discourse with plenty of sound modeling and subtleties in color, like no other guitar had until now made possible, including the best of breed “traditional” instruments !
Therefore, the concert “Maestro hf” guitar adds high fidelity to your playing, and a novel sound space supporting your musical expression.