CHITARRA FLAMENCO, CLASSICA, ACCESSORI

LA BELLA SET 7GPS LIGHT (0,12-0,52) FOR ACOUSTIC GUITAR PHOSPHOR BRONZE WOUND STRING

MUTA DI CORDE PER CHITARRA ACUSTICA.

La Bella Acoustic Steel String

"LaBella's acoustic guitar sets are comprised of perfectly balanced strings and are available in a choice of many different gauges. Accommodating today's acoustic players and their instruments, these varied set designs present many options for stringing. Only the finest American-made materials are used -- high quality plain steel and superior bronze alloys. Handcrafted by skilled technicians, LaBella guarantees every string that leaves the factory.

Over the centuries, the problem of prolonging the life of metal strings has plagued both players and string makers. Today, some manufacturers have discovered a quick fix method to prevent oxidation from occuring. They coat the metal strings with a polymer or synthetic material. This process stifles the wound string's sound production and does not guarantee a longer life. Any surface treatment deadens the natural transmitting powers of the string and dampens the high overtones associated with a good wound acoustic guitar string.

Phosphor Bronze Wound

Strings made of phosphor bronze are extremely popular with today's acoustic guitarists. These Phosphor Bronze Wound sets offer a brighter sound and longer string life than any other bronze string on the market. Exclusively developed for LaBella, a unique metal compound is used for the phosphor bronze alloy."

STYLUS PICK, Breaking the Speed Barrier. Con un plettro Stylus Pick. TABLATURE

NON DISPONIBILE

THE EXERCISES
The exercises were developed by noteab!y fast-picking instructors and alumni at BerKlee College of Music, and are
intended to deveiop strengUi. dexterity, anc picking skills. Start first with a down-stroke, then start again 'with an up-stroke increase the metronome one selling and play the exercise again. Continue this until you finally "break down" and the" mark the setting. With each practicE: session, raise and lower the metronome selling. These exercises will interact with eacrl other to produce extraordinary results for you.

Keep string inside diameter of Stylus.
FRETS
FINGERS

INSTRUCTIONS FOR USE
1. Hold the STYLUS PICK in the way most natural to your hand. "Choke down" on the support cone so your thumb and first fingers hang over the edge a little. You should feel like you're holding the support cone, while the pick body stabilizes your grip. 2. Place the very tip directly on the string, and position the STYLUS PICK at a 90° angle to the surface of the guitar. Keep it at that angle at all
times. (Don't start strumming back and forth across the strings, that's not what the STYLUS PICK is for.)

3. Whether you pick "from the elbow", or "from the wrist", be sure you know what really feels best, and anchor your arm, hand, or wrist accordingly.

4. "Rub” the STYLUS PICK gently across the string; back and forth until you feel its subtle guiding effect. Keep the STYLUS PICK
"balanced" on the string. Keep the alternate strokes limited to the approximate diameter of the tip of the STYLUS PICK Strokes longer than this are unnecessary and will slow you down. (Don't start "muscling" a tremolo and then try to "finger a note"for each picking stroke to sound like you're playing fast. This is out of control and backwards.)

5. Don't let the STYLUS PICK drop below the string at the widest portion of the tip. This is the most important aspect of alternate picking with the STYLUS PICK. If you gauge the tip too low while picking up and down, the support cone grabs the string and yanks your hand right down. Dead stop! You will quickly learn the margin of gauging error. With a little practice, you will soon master this, and the stylus tip will become irresistible for fast alternate picking. The key here is to work off the very tip, while resisting the urge to "dig down". The stylus tip and support cone work together to stop you when you're wrong, and help you along when you're right.

6. Now try this example. Concentrate on the very point of the tip. ALWAYSFEEL FOR THETIPOFTHE PICK ON THE STRING! Rather than attacking the string "from the air", keep the tip ON the string, and as you fret the string, it will "fall off'the tip, soupding the note.

7. Try to maintain total relaxation of the picking hand. Keep starting over until you are able to remain relaxed for extended periods of time. Reducing tension in the arm, wrist and hand is what you're after. Just attack the strings accurately with each stroke, so you get used to it, and grow into it.

8. After gaining control of the STYLUS PICK, you may then concentrate more on your playing hand, while the STYLUS PICK corrects slight errors in gauging. This way, you can relax your picking hand altogether while it is simultaneou Iy being trained to "zero in” on the tip.

Threshold
String above threshold results in maximum resistance

Threshold
String below threshold results in minimum resistance

The widest point where the two cones of the pick meet is called the threshold. When the string rises ABOVE the threshold due to excessive digging, you go nowhere, because the support cone will pull the pick all the way down, and stop the stroke. When the string remains BELOW the threshold, you go everywhere, because the STYLUS PICK will roll over the strings without getting stuck.

With each alternate stroke, the STYLUS PICK first guides the hand up to the very tip, THEN picks the string. While the stylus tip allows the right hand to continue picking without interruption, the left hand is free to move through the scales: thus building control and endurance for both hands.

SUMMARY
1 Don't drop the widest portion of the stylus below the strings.
2 Each picking stroke must be as short as possible.
3 Practice relaxation to develop and maintain control. 

CHITARRA CLASSICA DA STUDIO, modello PROFESOR, A. SANCHEZ.

Ottima chitarra classica da studio spagnola. Ben rifinita, sonorità equilibrata, con una buona risposta delle note basse, Tastiera in ebano.

TASTIERA IN EBANO - 

Solid Top

Back and Sides of Rosewood
Ebony Fingerboard
Gold plated head-machine 

Antonio Sanchez 'Profesor' Classical Guitar, Model no. 1020

The materials used in the 'Profesor' line are superior to the Estudio models and the instruments produce an excellent sound for the home or small concert hall.

Solid Top
Rosewood Back and Sides
Ebony Fingerboard
Gold plated machine heads

CRAFTSMANSHIP GUITARS

Concert, S.A. was created in 1984 in Valencia by the Spanish Luthier Antonio Sánchez after many years' experience working in different guitar factories. During his almost twenty years of factory existence, Antonio Sánchez dedicated this time to study and to try and improve the qualities of the instrument. This study and his investigations with different materials and designs has led to Antonio Sánchez’s guitars being respected and admired all around the world.

The continuous improvement of the instrument is still the main concern for the Sanchez guitar factory. Mr. Sánchez personally selects different woods as well as being involved in the natural drying process which can last more than one year. Of course, he also supervizes the entire production process of the 'Estudio' models as well as the personal construction of the most prestigious guitars models too.

The workshop is situated in Paterna city and it has a staff of twenty craftsmen who have all had long experience in guitar manufacture. With around ten thousand guitars a year capacity of production it has been easy for them to maintain the most pure craftmanship tradition coupled with technological innovation in order to obtain a guitar of excellent technical and tonal characteristics. 

Top Cedar
Model 1020
Top Type Solid
Back Indian Rosewood
Sides Indian Rosewood
Neck Mahogany
Fingerboard Ebony
Nut Type Bone
Saddle Type Bone
Colour Natural
Finish Gloss
Scale Length 4/4
Position Markers N/A
Machine Heads / Tuners Gold-Plated
Bridge Rosewood
Bracing Standard
Strings Fitted D'Addario Pro Arte EJ45