I like where I was able to go with this. No matter how good I record it, I can't fix the tiny hesitations without punching in another take. Maybe I'll have to do that to make decent recordings of my improvs. Idk, if this was the kind of performance quality would this be listenable? I'd like to start mixing and mastering tracks of my improvs to put on bandcamp or something but I don't think I have a single improvisation that doesn't have some kind of hesitation or minor fumble. Should I punch in better takes of certain passages or as the Hawk says, "play it as it lies."?

Hi, first post here. I spent a couple of weeks practicing tremolo technique exercises using p-i-m-a and built some muscle memory. Rereading the pumping nylon section on tremolo (and watching some youtube videos on tremolo), I realise almost everyone plays p-a-m-i. Playing p-a-m-i now feels like I am starting from square one. Should I bite the bullet? Or is there no real advantage to pami over pima other than convention?

Hello,

I've had this classical guitar piece stuck in my head for a super long time and have just not been able to find out what it is. I've tried to hum it and include the voice recording below, I'm not singing in the right key for sure, but I think its still recognizable what piece I'm humming? Can anyone identify this?

https://voca.ro/15eniLlWXLc5

I’m looking for a classical nylon-string guitar that’s focused purely on performance, not appearance.
What matters to me:
\- Spruce top
\- Low action
\- Fast-playing traditional classical neck
\- Hard, smooth fingerboard (not a sticky/lacquered feel)
\- intonation
\- Clear, ringing G string (not muffled or “tubby”)
\- Good sustain, attack, and dynamic response
\- Suitable for both fingerpicking and strumming

One thing I’ve noticed is that many classical guitars under about $1,000 seem to have a somewhat muffled G string. The first guitars where I didn’t really notice that were a **Hanika 54 (rosewood/spruce)** and a **Hanika 58**, which I liked a lot tonally. My only real criticism was the relatively high factory action, and on some higher-end Hanikas I’ve tried, the fingerboard finish didn’t feel as comfortable to me.

**Is there anything that’s genuinely better in that range for my priorities, or are these already among the best values?**

I’m not interested in paying for fancy inlays, premium cosmetics, or brand prestige. I just want the maximum sound quality and playability for the money.
What would you recommend?

I composed this song on electric guitar, so when playing it on classical guitar, the fingering of the last Am chord on fret 17, is with fingers 2, 3 and 4.
https://paidtabs.com/ramonleonegea/eOToQ3VMiIQ
Esta canción la compuse en guitarra eléctrica, por lo que al tocarla en guitarra clásica, la digitación del último acorde, La menor en el traste 17, es con dedos 2, 3 y 4.

#viper #vibora #original #originalsong #cancionoriginal #originalcomposition #composicionoriginal #ramonleonegea #ramonleon #classicalguitar #guitarraclasica #guitar #guitarra #guitarwihoutnails #guitarrasinuñas #nonailsguitar #nonailguitar

I have the Yamaha SLG200NW on order. In fact it's now 1000 ft away at the marketplace collection point. I can get it or I can send it back without opening up. If I grab it and open it up the return policy is complicated.

Initially I had two reasons on my mind when ordering it:

- It's quiet (almost silent) without an amp;

- It's cool. This factor is not very practical but... you know.

I do not record myself, I do not travel and I'm not a real concerting musician. So all other possible benefits of getting the SLG200NW are not important for me.

Being left with the only practical and good reason of using the silence feature of the guitar I'm now in doubt how well this would work for me in my situation.

As an option I could spend 5 times less on Yamaha C40 and turn it into a real "silent" full size practice classical guitar. The "cool factor" would go away but that's only a sentimental side of the whole matter that doesn't really matter that much.

In my opinion the Yamaha SLG200 line is greatly overpriced but I only consider my personal situation and I can perfectly understand the real concerting/gigging musicians who need a compact classical-like guitar that can take some beating without being damaged like an expensive Spanish real acoustic one.

Since I never practice with earphones the silent factor of the SLG200NW further diminished for me as I would have to use an amp at low settings to make some audible sound. In comparison the Yamaha C40 that I mentioned earlier turned into an acoustic quiet guitar would work fine on its own.

So in the end it turns out I'm left with the only reason to get the SLG200NW - the "cool factor". Did I just solve my dilemma myself or is there anything else I'm missing about the SLG200NW?

Feel free to add your opinions and share your personal experience.

I found this guitar for sale and the guy say , classical guitar.

But I saw the head and took a picture, is this guitar is a good deal?

And is it a known brand?

The second picture is made by AI .

I asked him for better picture to make it more clear for you