Santa Monica, CA (May 30, 2013) -- Cordoba Guitars is excited to announce the release of the C9 Dolce, a 7/8 sized version of the C9. With a slightly reduced body size and scale length (630mm), Cordoba has created a new instrument suited for the player looking for the feel and comfort of a smaller instrument offering increased ease of playability. Featuring a solid Canadian cedar top and solid mahogany back and sides, the C9 Dolce is handmade by a small team of builders in a boutique workshop, using traditional Spanish construction techniques such as the Spanish heel, hand carved neck and braces, and a domed soundboard built on a traditional solera. The hallmark of the Luthier series is the mother-of-pearl hand-inlaid rosette inspired by a 1920s Domingo Esteso rosette, adding a striking focal point to the C9 Dolce’s already sleek aesthetic. Like all models in the Luthier series, this guitar also includes a two-way adjustable truss rod, Cordoba’s premium black and gold tuning machines, and a deluxe Cordoba humidified archtop wood case.
C9 Dolce Specs:
Solid Canadian cedar top, solid mahogany back and sides, mahogany neck, ebony fingerboard, natural high gloss PU finish, 50mm nut width, 630mm scale length, Savarez Cristal Corum strings. Includes deluxe Cordoba humidified archtop wood case.
MSRP: $970
Pictured left to right: Luthier Kenny Hill, Cordoba’s President Jonathan Thomas holding an 1864 Torres, Cordoba’s CEO Tim Miklaucic
With their new Master Series, Cordoba has chosen to honor four master luthiers whose work has shaped the history of the nylon string guitar over the past 150 years, inspiring generations of guitar builders. Each Master Series model is a replica of an iconic guitar representing significant moments in the careers of Antonio de Torres, Hermann Hauser I, Miguel Rodriguez, and Manuel Reyes. Handmade with premium materials in Cordoba’s California Workshop, Cordoba has partnered with Kenny Hill to examine the original guitars, poring over nuances and specifications to get inside the mind of each maker. From Torres’ signature 7-fan bracing and unique small body design, to Hauser’s famed 1937 model used by Andres Segovia, the Master Series allows today’s players to get their hands on a slice of guitar history at a fraction of the cost.
The Master Series Lineup:
Torres – MSRP $4,275
Hauser – MSRP $4,275
Rodriguez – MSRP $4,275
Reyes – MSRP $4,275
For more information:
Cordoba Guitars
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Peterson StroboStomp Mini Pedal Tuner
| The StroboStomp Mini delivers the unmatched 0.1 cent tuning accuracy of all authentic Peterson Strobe Tuners in a mini pedal tuner format. We designed StroboStomp Mini around the most requested features from our customers: a mini form factor, and top mounted jacks. |
But by gosh, if delay—and its sister effect, reverb—haven’t always been perfect for the music I like to write and play. Which brings us to the Fishman EchoBack Mini Delay. The EchoBack, along with the standard delay controls of level, time, and repeats—as well as a tap tempo—has a toggle to alternate between analog, tape, and digital-delay voices.
I hooked up my Washburn Bella Tono Elegante to my Blues Junior to give the EchoBack a test run. We love a medium delay—my usual preference for delay settings is to have both level and repeats at 1 o’clock, and time at 11 o’clock. With the analog voice switched on, I heard some pillowy warmth in the processed signal, as well as a familiar degradation with each repeat—until their wake gave way to a gentle, distant, crinkly ticking. Staying on analog and adjusting delay time down to 8 o’clock and repeats to about 11:30, some cozy slapback enveloped my rendition of Johnny Marr’s part to “Back to the Old House,” conjuring up thoughts of Elvis trapped in a small chamber, but in a good way. It sounded indubitably authentic. The one drawback of analog delay for me, generally, is that its roundness can feel a bit under water at times.
Switching over to tape, that pillowy warmth evaporated, and in its place came a very clear replication of my tone—but with just a bit of the highs shaved off the top. With the settings at the medium-length mode listed above, I could see the empty, glass hall the pedal sent my sound bouncing down. I heard several pronounced pings of repeats before the signal fully faded out. On slapback settings (time at 8 o’clock, repeats at 11:30), rather than Elvis, I heard something more along the lines of a honky-tonk mic in a glass bottle. Still relatively crystalline, which actually was not my favorite. I like a bit more crinkle—so maybe analog is my bag....“That pillowy warmth evaporated, and in its place came a very clear, pristine replication of my tone—but with just a bit of the highs shaved off the top.”
Next up, digital. Here we have the brightest voice, and as expected, the most faithful repeats. They ping just a few times before shifting to a smooth, single undulating wave. When putting its slapback hat on, I found that the effect was a bit less alluring than I’d observed for the analog and tape voices. This is where the digital delay felt a little too sterile, with the cleanly preserved signal feeling a bit unnatural.
All in all, I dig the EchoBack for its replications of analog and tape voices, and ultimately, lean towards tape. While it’s nice having the digital delay there as an option, it feels a bit too clean when meddling with time of any given length. Nonetheless, this is surely a handy stomp for any acoustic player looking to venture into the land of live effects, or for those who are already there.
