A Closer Look
So just how close of a replica is this guitar to the original? It certainly shares a lot of aesthetic details. The decorative bridge is one obvious similarity, as is the rosette which has been closely matched in colour and design to the original 1864 model. The same can be said for the purfling around the edge of the soundboard. The headstock is the same instantly recognisable 3 peak ‘Torres’ shape. So many little details appear to be taken directly from the original guitar, as you might expect from a guitar that describes itself as a replica.
The body shape looks a close match as far as the naked eye can tell, being much smaller in width and depth than most modern classical guitars. At it’s widest point, the lower bout is just 33cm wide and a shade over 9cm deep. Wolfgang Jellinghaus even goes so far as to apply a gorgeous antique style finish to the soundboard of the guitar, to give it an aged appearance in a nod to the condition of the original. One of many breathtaking aesthetic details on this guitar.
After that the original FE17 and Wolfgang Jellinghaus’s FE17 A start to go their separate ways. The ‘A’ version of Wolfgang Jellinghaus’s FE17 model is constructed with Indian Rosewood back and sides as opposed to maple as per the original. Indian Rosewood tends to give a darker tone than maple and is generally preferred by most modern players, so this gives options to today’s guitarists who want the shape and feel of a historic Torres style guitar without having to battle a brightly biased guitar.
The guitar has also been upgraded to include modern tuners with black string rollers. The headstock on the ‘A’ model also lacks the highly decorative detailing of the original, however this is included on the ‘1A’ model (which also features maple back and sides as per the original). The omission of any decoration on the back of the guitar concludes the aesthetic differences between the FE17 A and the original Torres FE17.
Tone
Tonally it would be impossible for me to compare side by side with the original, so I’m not going to attempt a comparison.
Looking at the size of this guitar you would be forgiven for expecting an empty tone that somewhat resembles a sheet of cardboard doing it’s best impersonation of an instrument. Speaking personally, I think this is perhaps a hangover from hearing too many 1/2 size, plywood beginner guitars in my life!
The surprise is therefore exceptionally welcomed when the first notes come singing joyously and harmoniously from this guitar. Notes from the treble strings fill the space around you with such depth and thickness of tone it takes a while to comprehend that the sound is indeed coming from the small bodied guitar on your knee. A dark and wood heavy bass accompanies the trebles to create a compelling and indulgent playing experience.
I’ve found with other small bodied guitars that the tone tends to be more focussed and that is exactly how the FE17 A presents itself too. There is a firmness and unwavering nature to each note. Spruce tops tend to do this trick rather well, but this is like a ‘super spruce’ in terms of focus.
Unlike your typical spruce however, there is not a hint of brightness to be heard. Everything has a warm and cosy character that feels very homely and so instantly easy on the ears. How much of this is the choice of Indian Rosewood over Maple? Some, almost certainly, but I’d bet a good degree is to do with the construction of the guitar itself.
Playing in the tasto position is quite the experience. Between the unavoidable vocalisations of satisfaction when you hit a particularly sweet note, the tone is just heavenly. I’m not a particularly big fan of playing apoyando, but I found myself in full rest stroke mode, improvising in various keys just playing through scales. A heavy dose of vibrato brings out the very best in this position and is highly addictive.
Tonal transitions through the natural position and into ponticello position are well measured and appointed. Small changes make a difference meaning this guitar has plenty of tonal variability to offer. In contrast to most spruce tops, the ponticello position sounds full with sizeable depth, rather than the sorry sounding, brittle tone we’re all quite familiar with.
Playability
Being a smaller guitar, you might have concerns over playability. Well, looks can be deceiving. I’ve waited until now to reveal that despite the body size, this is actually a 645mm scale length guitar. That’s right, just 5mm shorter most modern classical guitars! Therefore in terms of fretting, there is no cavernous difference in overall ease of playability whatsoever compared with other full size classical guitars. I imagine most 650mm players would find this a simple playing experience without needing to make any radical adjustments to their technique. It just feels a tad less stretchy in the first position, and who’s going to complain about that?
The neck feels like a shallow D shape profile to my hands, and like all Wolfgang Jellinghaus guitars, is wonderfully playable.
The smaller body feels comfortable and makes me question whether the more typical larger body of a classical guitar is actually the way to go. There is a simplicity to practicing with the FE17 A that feel a lot like reminiscing with an old friend. There is no doubt in my mind that the FE17 A is fine company indeed.
Conclusion
One of the biggest strength of the FE17 A is it’s unapologetically warm tonal character. It doesn’t try to cut through the mix or present crisp melodies. Everything has a warm bias whilst still having enough contrast from tasto to ponticello positions to provide enjoyment for any player. I see this as an ideal instrument for classical guitarists who want that old world classical guitar tone and perhaps those who don’t (or can’t) maintain a well manicured set of nails. This would sound great with fleshy fingertips or nails, I don’t think she’s too picky.
As a smaller bodied guitar, this would be ideal for those with a more smaller than average frame who still need a high quality guitar with an incredible tone. At 645mm, although the scale length is only a shade shorter than the more standardised 650mm, everything just feels easy with this guitar.
This is the type of tone that feels unachievable on a larger bodied guitar and is one of the reasons I can see this as a second guitar for many seasoned players. Sometimes you just crave that little bit of unadulterated warmth and indulgent type of experience that you just don’t seem to get from a modern classical guitar (however good it might be). Supreme tonal focus coupled with an easy listening tone makes a compelling case for a second or backup guitar for practically any guitarist.
