Touring international trade fairs, we find one common thread that powerfully represents instrument building in our country: the guitar. It is a product we export to Germany, France, Japan, Italy, Great Britain, Turkey, Belgium, Denmark, the Netherlands, Austria, Portugal and the United States, among others. One of the makers that has represented us since 1968 (the year it was founded) is Guitarras Raimundo.
We have known their guitars for some time now from the ISP Música test benches. After Musikmesse 2015, we decided to put one of the newest models from this maker to the test: its new F-clef guitar.
The F-Clef Guitar
This new and unique instrument was created to complete the guitar family. If a standard guitar is considered a tenor instrument, as opposed to the requinto or soprano guitar, this new creation we're tackling today covers the low range that lies between the bass guitar and the standard or tenor guitar. Its ideal sonic place is therefore that of a baritone guitar.
Tuning Charts
- TENOR guitar: E – A – D – G – B – E
- SOPRANO guitar: A – D – G – C – E – A
- BARITONE guitar: B – E – A – D – F# B
- BASS guitar: E – A – D - G
The standard guitar actually has a wide range that spans the middle part of both clefs, but unlike the "soprano," its central range sits more in the tenor zone. Unboxing: we received and tested two models of this version: the Clave de Fa from Guitarras Raimundo.
One of them has a body depth of 100 mm and a sound port in the upper side of the body to project its low end. The second is a guitar with no side port, extra-thin body, and a Fishman Classic preamp that also provides direct plug-in operation. When we opened the packaging we found an explanatory booklet that guides the owner of the instrument with tuning staves (Bass, Baritone, Tenor, Soprano), as well as suggested chord positions. It ends with a passage (in staff notation and tablature) written expressly for this guitar by Don José Pruñonosa (guitar teacher and music researcher), who actively collaborated in developing this instrument.
Materials and finish. As you will have noticed in the spec sheet, the guitar is built with first-rate materials: German spruce top, Macassar ebony back and sides, and an ebony fretboard. As we have seen before in instruments from this maker, the finish is praiseworthy for its handcrafted touch and perfect feel, in both its varnishes and the smoothness of every part of the instrument.
The hardware chosen for the guitar is precise, smooth and reliable. After the trip from Valencia to Madrid, neither instrument needed any major tuning adjustments, despite the jostling of the carriers and the temperature swings. This stability was also evident throughout the tests, since once they were tuned accurately, we didn't have to touch them up again for the entire time.
Feel and sound. I had played (and still do on occasion) baritone guitars in electric format. The punch of their low end with distorted sounds gives truly unique sonic characteristics, especially in metal contexts or those that call for crushing solidity in our heavy sounds. However, I had never had the chance to play a baritone guitar in acoustic format, a Spanish guitar with nylon strings. In terms of creative possibilities, it caught my attention in particular for showing an entirely new range, distinct and with a series of nuances I hadn't experienced on other six-string acoustic instruments. In a classical setting, the possibilities for blending with tenor or soprano guitar players take the instrument toward some truly interesting prospects.
In a more contemporary setting, I urge you to try them so they spark that creative flame that using something new can give you, something that sounds very good and that you're not familiar with. I couldn't define a (modern) music style that would "label" this family of acoustic F-clef sounds. What I can say is that after recording a few experiments in which we mixed an acoustic (standard, steel-string) with arpeggios on another track from the baritone in question, the results are really appealing and very tempting for experimenting with new production results. I was also surprised by how clearly these instruments project in such low frequencies. Lots of depth and perfect definition. The bass strings, especially on the wider-bodied model, are a genuine source of low-end energy. Very dense, but without getting out of control. Both instruments are very rich in harmonics, well balanced and offer excellent blending among their 6 strings. No harshness in any frequency range, and a comfortable feel when playing.
As for the electrified model (with preamp), the depth of its low end stands out, considering the smaller body. It is surely a more "modern" and comfortable version for guitarists who stray further from the classical tradition. Once its sound is captured direct, through the preamp, we can shape it, from the instrument's own preamp and through compression, effects or external EQ. It includes a digital tuner.
Clave de Fa Conclusions. Obviously it is not a standard guitar, so it seems especially attractive as a complement to other pieces in your collection, unless, when you play it, you feel particularly drawn to this tonal palette and it ends up becoming part of your instrumental identity. I expected a good guitar, since it came from a builder I already know, with a track record that confirms it. What captivated me was the unexpected richness of the F clef in an acoustic context. Truly worth experimenting with. More information at www.ispmusica.com and at
