I wonder could this be the future for Bach? This is work in progress and I thought I might share it with you.
... "Oko podneva" home studio sessions 02 may 2017, practicing some Bach, testing Takamine TH90 guitar...
about 60% single microphone, 40% CTP3 pre amp with 30% tube kick-in, flat EQ (perhaps not orthodox position of mic, a friend suggests the sound is too harsh) in Cubase, added Waves reverb, and maximized level somewhat with Ozone 5 CD preset (turned of everything but the Maximizer and EQ - Right > it raises the highs a little bit, perhaps I should turn this off...), environment is noisy highway by apartment block, but noisy is the future, so what? 
Regards, A

Testing Takamine Hirade TH90 

Gavotte I & II BWV 995

Testing Takamine Hirade TH90

Courante BWV 995

I wonder could this be the future for Bach or classical sort of a guitar today? This is work in progress and I thought I might share it with you.
... "Oko podneva" home studio sessions 02 may 2017, Nymbus Art Belgrade project www.nymbusagencija.co.rs/, practicing some Bach, testing Takamine TH90 guitar...
about 60% volume from single microphone, plus cable with 40% CTP3 pre amp with 30% tube kicking-in, flat EQ (perhaps not orthodox position of mic, a friend suggests the sound is too harsh) in Cubase, added Waves reverb, and maximized level somewhat with Ozone 5 CD preset (turned off everything but the Maximizer and EQ - Right > it raises the highs a little bit, perhaps I should turn this off...), environment is noisy highway by the apartment-block, but noisy is the future, so what?
Best regards, A

Bach BWV 1000 Fuga

I am not vary happy with this interpretation, but hire it goes anyway (I hear typical classical guitar anxiety, tendency to rush and forcing the volume needlessly). This is work in progress, I trust it is moving in the right direction. Beautiful master piece of baroque music. Originally in D minor, transposed to E minor for modern guitar.
 
Still testing the TH90 guitar, shortening the nails, testing new fingerings, arrangement, playing around with editing and mixing the output from condenser microphone and CPT3 pre amp (right in the middle of first track there is a low noise that appears from the cable connection after I have shaken the guitar violently since a heard a buzzing noise related to the 6th string affecting some small parts in pre-amp I imagine... oh well).

It is funny, not that the condenser microphone is of vary high quality, but still why and what is it that is not captured by audio recording process, why does it not sound the same when played back, as it feels when played forth? Is it to do with some tiny sort of impulses which piezo kind of pick ups can electronically help to capture in form of amplification for the deaf ears of today?

S.L.Weiss

V Bouree

IV Sarabande

III Courante

II Allemande

I Prelude

it is a soundsketch of Chaconne from G major suite for theorbo from Saizenay manuscript done on superb "french Theorbe" by Ivo Magherini, so sounds in C major at 415Hz.

R. de Visee

Chaconne - Robert de Visee

G minor arrangement for  8 course Renaissance Lute

Luis Bonfa

Manha de Carnaval - Luis Bonfa

Frenche theorbo (théorbe de pièces)is tuned a forth higher then standard theorbo. Therefor the suite in E min from Saizenay Ms sounds in A mineur. This corresponds to the key in which we find parts of the same Suites published as dessus & basse partitons in "Pièces de théorbe et de luth" (Paris, 1716)

Robert de Visee

Gigue

La Montfermeil

Sarabande

Courante

Allemande

Prelude

The lesser theorbo (french theorbo) as specified in Talbot Ms (1690s), may have been the first historical instance of a single strung instrument from the lute family. But is it suitable for earlier Italian repertoire? If therbiono, an octave higher instrument was in use, then perhaps an archlute tuned in d with two top strings tuned down an octave would sound something like this.

Andrej Jovanic

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