Our columnist traces the history of the 6-string Cuban tres—from Africa, to Cuba, to the top of American country music.
I love that I was taught by my father and grandfather to build a variety of string instruments. I have continued to do this—I have built so many different types, and I learn from each one. I am currently building a nanga, a rectangular, harp-like African instrument played by the Ganda people of Uganda.
As I have been building this instrument and learning from the musician who commissioned it, I am often reminded of the influence Africa has on so many instruments, from drums to the banjo, or akonting as it was originally named. A popular instrument that I have recently been getting more requests for that is equally influenced by Africa’s music is the tres cubano, or Cuban tres.
In comparison to other chordophones—instruments whose sounds come from the vibration of stretched strings—from around the world, this instrument is relatively young, appearing first towards the end of the 1800s. The original tres is said to have three courses with a total of six strings, and while the 9-string version is now more associated to the Puerto Rican tres, a 9-string iteration of the Cuban tres is documented as early as 1913, though it’s believed that the Puerto Rican instrument influenced the additional strings.
Most early models of the tres have a similar body to a classical guitar or the requinto romántico, but the more common shape now is a smaller, pear-shaped body offered either with or without a cutaway. The tres has only begun to get more visibility in the past 25 years, so sizing can vary greatly from luthier to luthier, but to help players who are unfamiliar with this instrument to get a better idea of the size, here are some specs from a Delgado model.
“The note placements of the tres in a changüí summon something deep inside any musician who is stirred by tempo and a hypnotic rhythm.”
One of the models I make has a body depth of 4″. The upper bout is 9″ and the lower bout is 14 1/2″ with a scale length of 545 mm, or 21 1/2″. The tuning also depends upon the player, but the traditional tuning is G–G–C–C–E–E. The outer string pairs—the Gs and Es—are each tuned an octave apart. Their gauges, from top to bottom, are .031–.011–.014–.014–.012–.023.
Again, you will see a range of string placements, gauges, and differences in tuning, but this is the foundation to help give you a basic understanding.
Now to describe the sound and style of the tres—I am literally moving to the rhythms I hear in my mind as I write this. While my heritage is Mexican, I feel so in touch with so many genres of music from around the world, and the music from Cuba is one of them. I like to describe this instrument as a percussive string instrument, because the note placements of the tres in a changüí—the Cuban music form that gave way to the Son Cubano, or “Cuban Sound”—with its strong African-infused beats, summon something deep inside any musician who is stirred by tempo and a hypnotic rhythm.
Like how Linda Ronstadt was key in helping bring audiences to appreciate and invest in mariachi music with the release of Canciones de mi Padre, I would argue that Ry Cooder did the same for Cuban music when, after traveling to Cuba, he helped introduce the world to Cuban artists as old as 89 on the 1997 album, Buena Vista Social Club, the creation of which was captured in the 1999 documentary of the same name.
Since the release of this album, we have seen the tres grow in popularity and availability. Many artists and bands have fused the tres into their music, using it in untraditional styles, but the sound is still recognizable. We have even built custom electric tres cubanos for clients! Pancho Amat, an ambassador for the tres and arguably one of the greatest living musicians to play the instrument, blends his classical and jazz backgrounds with the tres’ natural sounds to create a unique sound. Thinking in terms of a drum pattern and African roots, you will have a better grip on the method when trying this instrument for the first time.
Now, do yourself a favor. Find an evening to relax, mix yourself a beverage—preferably a mojito—and rent the Buena Vista Social Club … then give me a call for your Delgado tres cubano.
Throughout 2024, Taylor Guitars is celebrating its 50th anniversary. This is not just a milestone birthday, but a tribute to the innovative spirit that has always driven the company forward.
American Dreamers
n 1974, Bob Taylor and Kurt Listug, two ambitious guitar enthusiasts from San Diego, embarked on a journey that would transform the world of acoustic guitars. They met at a guitar-making shop called the American Dream, and their passion led to the founding of Taylor Guitars.
The journey was challenging, and Bob and Kurt had a lot to learn. “Things were hard for a really long time,” Kurt recalls. “We had to learn everything. How to build guitars. How to sell guitars. How to build a business.”
Relentless Innnovation
Despite the steep learning curve, innovation was a core value from the beginning. In 1976, Bob Taylor introduced an early version of Taylor’s soon-to-be-famous slim-profile, bolt-on guitar necks. This design was a departure from the bulky neck profiles common at the time and made neck resets easier.
Musicians were impressed by the slender neck profile and low action, making Taylor’s guitars remarkably easy to play. Notable artists such as Neil Young, Prince, Dan Crary, and Leo Kottke have played Taylor guitars, contributing to their reputation.
Taylor was also the first acoustic guitar company to adopt computer-numerical-controlled (CNC) mills, introducing these machines in 1990 for precise cutting, pocketing, and shaping of complex guitar components.
The Birth of the Grand Auditorium
In 1994, Taylor introduced the Grand Auditorium, a body shape with refined dimensions between a Dreadnought and Taylor’s small-bodied Grand Concert. This versatile acoustic voice offered remarkable balance across the tonal spectrum, suitable for strumming, picking, and fingerstyle playing.
The Grand Auditorium’s medium-sized body redefined the acoustic guitar to better meet the needs of modern players. Its versatility made it a popular choice among session musicians and gigging players, becoming Taylor’s best-selling body shape.
To celebrate their 50th anniversary, Taylor is releasing a collection of limited-edition guitars that highlight the best from their line over the past five decades.
The all-purpose Grand Auditorium takes center stage in this commemorative collection.
Several models are now available at authorized Taylor dealers, including the 50th Anniversary Builder’s Edition 814ce LTD, 314ce LTD, and AD14ce-SB LTD.
Builder's Edition 814ce LTD
The 50th Anniversary Builder’s Edition 814ce LTD is an ultra-refined version of the popular Builder’s Edition 814ce (released in 2023). It retains comfort-enhancing elements from the original, such as a beveled armrest, beveled cutaway, chamfered edges, and a Curve Wing bridge. A solid sinker redwood top and solid Indian rosewood body offer a harmonious blend of rich lows, sparkling highs, bold projection, and dynamic range. Features include an abalone rosette, mother-of-pearl inlays, maple binding, maple purfling, and Gotoh 510 tuners.
Street Price: $4,999.
314ce LTD
One of the best-selling U.S.-made acoustic guitars, Taylor’s 314ce gets a premium upgrade with the 50th Anniversary 314ce LTD. Taylor’s special roasting process has been applied to the solid Sitka spruce top, offering aged-in depth and sweetness from day one, along with enhanced soundboard stability and responsiveness. Paired with solid sapele back and sides, this guitar delivers a rich and versatile sonic profile with Taylor’s signature warmth, clarity, and balance. Eye-catching aesthetic touches include a tobacco shaded edgeburst and a bold firestripe faux-tortoise pickguard.
Street Price: $2,799.
AD14ce-SB LTD
The 50th Anniversary AD14ce-SB LTD combines workhorse versatility with neo-vintage aesthetics. Featuring a Sitka spruce top and walnut body, it offers a pronounced midrange with a balanced blend of warm lows and clear highs, ideal for fingerpicking and strumming. This model harks back to Taylor’s early guitars, many of which were built in the shop where Bob and Kurt met.
Street Price: $1,999.
All three Grand Auditoriums feature V-Class bracing, a groundbreaking sonic “engine” developed by Andy Powers, Taylor’s Chief Guitar Designer (and President and CEO). Andy, who joined the team in 2011, ensures that innovation continues to be a central focus.
Each guitar in the collection includes celebratory appointments, such as a commemorative 50th Anniversary label, ebony bridge pins with gold acrylic dots, and gold tuning machines and buttons.
You can explore Taylor’s full 50th Anniversary Collection of guitars here. All models are available exclusively at authorized dealers.
Plus, check out Taylor’s 50th Anniversary Timeline to learn more about the history of innovation and some of the amazing artists who have played their guitars over the past five decades.
Slinky playability, snappy sounds, and elegant, comfortable proportions distinguish an affordable 0-bodied flattop.
Satisfying, slinky playability. Nice string-to-string balance. Beautiful, comfortable proportions.
Cocobolo-patterned HPL back looks plasticky.
$699
Martin 0-X2E
martinguitar.com
Embracing the idea of an acoustic flattop made with anything other than wood can, understandably, be tricky stuff. There’s a lot of precedent for excellent-sounding acoustics built with alternative materials, though. Carbon-fiber flattops can sound amazing and I’ve been hooked by the sound and playability of Ovation and Adamas instruments many times.
High-pressure laminate, which is paper and resin pressed and covered by the image of wood grain, is another widely used alternative material. It certainly doesn’t sound glamorous. But as a construction material, it’s consistent and enables guitar companies to build more affordable instruments. It also minimizes the cost to the Earth’s forests—particularly where exotic hardwoods are concerned.
On the Mexico-made $699 Martin 0-X2E, the HPL back-and-sides are newly styled to look like cocobolo. But the big news is that the 0-X2E body uses a solid spruce top in place of the HPL tops on previous 0-X models. I can’t say I’ve been over the moon for most HPL- guitars I’ve played. But most of those have been dreadnoughts and didn’t have wood tops. Spending time with the 0-X2E made me a lot more enthusiastic about HPL as a back and sides material. It also made me wonder if a small-bodied guitar like a Martin 0 is better suited for the material. It sounded lively and felt fast, fun, and comfortable
Hybrid Evolution
The 0-X2E’s satin spruce top makes the guitar sound much cooler, but it also looks organic, understated, and pretty. That’s a good thing because the HPL representation of cocobolo looks pretty plasticky up close. Real cocobolo backs can be aesthetically polarizing, even in their most expensive incarnations. But the complexity, depth, and contrast of the real thing is rendered very two-dimensional here.
The “select hardwood” neck, bridge, and fretboard look a lot like sapele on our review guitar, but could also be utile or cedar, depending on what Martin has on hand in quantity at the time of manufacture. Like the spruce top, they lend a businesslike but pretty simplicity to the already lovely proportions of the 0-sized body. The guitar is conventionally braced on the back (should the use of HPL leave anyone wondering), uses scalloped X braces on the top, and save for the first and second frets, which could stand a little more shaping at the edges, fit and finish are very nice.Get with the Compact Act
While this may not be a universal sentiment, it would be hard to find a flattop body profile more comfortable than a Martin 0. It’s easy to imagine players that primarily play electric gravitating to the 0-X2E’s diminutive dimensions. But it’s also the kind of guitar that makes most playing—and fingerstyle in particular—a lot less fatiguing. Spending long hours working on technique or songwriting is a lot more effortless and inviting. The 0-X2E is a nice player, too, and would qualify as such in a higher price category. Fingerstylists will also enjoy the wider string spacing afforded by the 1 3/4" nut width.
“It’s easy to imagine players that primarily play electric gravitating to its diminutive dimensions.”
Sonically speaking, the 0-X2E is heavy on the midrange, and there are some bright overtones that verge on strident when you strum hard. That said, the guitar never sounds like it’s swimming in a mud of sloppy overtones. String-to-string volume is pretty even and it makes the guitar feel balanced, dynamic in terms of quiet-to-loud range, and detailed at the bass and treble side of the spectrum. And while the 0-X2E is not what the average player would call rich with bass, the 6th string has ample resonance, which underscores the guitar’s surprising and pleasing sustain. That encourages more spacious phrasing (if you’re into that sort of thing) and makes the 0-X2E a cool vehicle for lower alternate tunings.
The Verdict
Martin’s 0-sized, X-series guitars have, to date, each cost around 500 bucks. Is the spruce top, hardwood neck, fretboard, and bridge worth the extra $200? In a purely sonic sense, I would say yes. The 0-X2E has real character and is a pleasure to play. Plus, you get a pretty nice electronics package in the form of the Martin E1, a system that includes a tone control and a very convenient and clever tuner with a readout mounted inconspicuously just inside the soundhole, with an easy-to-read display that faces up toward the player.
There are a number of small guitar alternatives in the affordable sphere. Many of these are “mini” guitars of one kind or another, or inexpensive parlors. There aren’t a lot of inexpensive 0-bodied guitars out there in the strictest sense, though, and even solid-wood versions made in Asia often push past the $1K mark. It’s hard to match the elegant proportions and tone magic that happens in a Martin 0-body, and the 0-X2E serves up a fair bit of that. Whether you’re willing to pay almost 700 bucks for an 0-bodied instrument with a back that looks less-than-authentically wood-like will be a very personal aesthetic decision. But if you let your ears be the guide, the snappy, super-playable, and ultra-comfortable 0-X2E may well surprise.