Evaluating my bouzouki
Good omens brought my instrument, safe and secure, finally to my house doorsteps yesterday evening.My hands were sweating from anxiety as I was carefully opening the case, and I was holding it for first time. My first impression was that, this bouzouki was the most light weight of any bouzouki I ever hold !
But since I promised to the friends of this blog, a full and honest review on Giannis Tsoulogiannis creation, here is the first part:
Evaluating the construction, materials been used, and finish.
The bouzouki has a very light, but very strong construction at the same time. What really grabbed my attention was the thin, light weight neck with a very smooth (not fully half- round) shape in the back, which allows the left hand to move freely and fast.
The headstock has a very beautiful and delicate construction.One of the thinnest head stocks I ever seen in a bouzouki.
The action is extremely low and very soft even at the highest frets.
The bridge is another delicate and beautiful peace of this instrument. Extremely thin, but with a great grasp on the sound board.
The soundboard is been perfectly sanded inside-out to a thickness able to reproduce a great sound without loosing the durability.Traces of bear claw are present.
Finally the bowl, one of my favorite parts, created with lot of attention to detail by, clean perfectly-cut staves of rosewood and mulberry.
The use of beautiful, natural treated, old woods makes a statement on this bouzouki. A noticeable difference at the appearance between, Giannis Tsoulogiannis creation and my latest bouzouki, even tho the woods been used for both instruments are the same.
The golden Mother of pearl decoration of the sound hole, has an exceptional quality with incredible iridescence.The vintage German tuning machines have a great lustre and they carrying the smallest string holes I ever seen.
I would characterize Giannis Tsoulogiannis creation as a natural beauty. The quality in woods and materials overcomes some imperfections you can find in finish .The natural varnish on the woods, brings out all the natural beauty in this instrument.
The sound board design is been perfectly cut even tho, the black acetopasta, has some imperfections and some areas feel a little uneven, especially around the sound hole and around the decoration close to the neck .
The trims around the bowl , kollatza and soundboard are been cut and glued perfectly. The same for the stripes between the staves.
The beautiful coating of rosewood ply on the neck, has some very small imperfections, hard to notice them.
The following days, I will record a sound sample of my instrument, which I will post with my final review on the sound.