Classical guitar making has evolved a lot over these last 40 years. Taking into account the astonishing progress in guitar-playing technique is important in order to give birth to an instrument capable of adapting itself perfectly to the player and his sensitivity, without imposing any constraints in the interpretation of the pieces he chooses. The instrument must allow him to express himself fully and to be heard by the audience whatever the configuration of the hall (small or large) and its acoustics. Also, he must be able to deliver a perfect sound texture for studio recording.
Modern guitar-making has seen the emergence of new technologies such as the “double top” (or “sandwiched-top”, utilizing composite materials) or “lattice” bracing, which now offer levels of dynamics and power unheard of a few years back. In parallel to this technological evolution, a more traditional yet still interesting approach continually strives to revisit the old tenets of Torres and Hauser, accepting a more intimate and capricious sound identity which makes its use more difficult in large concert halls.
Thus, although I tirelessly experiment new techniques, I currently use only natural materials in the construction of my guitars. I also like to think that Nature is far from having delivered all its secrets, and I prefer the sound result more “organic” and faithful to the essence of the instrument it offers us.
It is thanks to this original conception and a thorough knowledge of the needs of a concert guitarist, that I offer a truly innovating instrument, combining beauty and sound richness to the performance of the best modern guitars. I make no compromises on the musicality, authenticity and loyalty to the traditional guitar sound, whilst providing the sensitivity, depth and ease of use that a performer needs today in order to perform every piece of the repertoire from early music to contemporary works.
Builder Hometown:
France
Builder Website:
https://www.bastienburlot.com/
Artists who play these instruments:
Roland Dyens, Thomas Viloteau
Classical guitar making has evolved a lot over these last 40 years. Taking into account the astonishing progress in guitar-playing technique is important in order to give birth to an instrument capable of adapting itself perfectly to the player and his sensitivity, without imposing any constraints in the interpretation of the pieces he chooses. The instrument must allow him to express himself fully and to be heard by the audience whatever the configuration of the hall (small or large) and its acoustics. Also, he must be able to deliver a perfect sound texture for studio recording.
Modern guitar-making has seen the emergence of new technologies such as the “double top” (or “sandwiched-top”, utilizing composite materials) or “lattice” bracing, which now offer levels of dynamics and power unheard of a few years back. In parallel to this technological evolution, a more traditional yet still interesting approach continually strives to revisit the old tenets of Torres and Hauser, accepting a more intimate and capricious sound identity which makes its use more difficult in large concert halls.
Thus, although I tirelessly experiment new techniques, I currently use only natural materials in the construction of my guitars. I also like to think that Nature is far from having delivered all its secrets, and I prefer the sound result more “organic” and faithful to the essence of the instrument it offers us.
It is thanks to this original conception and a thorough knowledge of the needs of a concert guitarist, that I offer a truly innovating instrument, combining beauty and sound richness to the performance of the best modern guitars. I make no compromises on the musicality, authenticity and loyalty to the traditional guitar sound, whilst providing the sensitivity, depth and ease of use that a performer needs today in order to perform every piece of the repertoire from early music to contemporary works.