12-string Manifesto, part 7

 

I've discussed various 12-string instruments, tunings, and conceptual approaches in these blog posts:

• 12-string Manifesto, part 1
• 12-string Manifesto, part 2
• 12-string Manifesto, part 3
• 12-string Manifesto, part 4
• 12-string Manifesto, part 5
• 12-string Manifesto, part 6

Clearly, 12-string instruments are important to me.

Currently, I have two 12s that are in use: a Martin D-12-28, and the Santa Cruz DKK-12, which I co-designed and was built for me in 2006.  

The D-12-28 is in C baritone tuning.  The DKK-12 is in E contra tuning.  The intervals for the C baritone tuning are such that the four lower strings are in octaves, and the two highest courses are in octaves.  For the DKK-12, which was renamed to C3, as it is the third contraguitar, all courses are in octaves.  Over the past few months, my sensing of octaves has transmutated into something else, which is discussed in this blog post.

I usually gravitate to about the heaviest string gauges possible for most of my instruments.  I prefer the darker, wider, weightier voice and texture provided by heavier strings.  However, for the C baritone, I'm using a much lighter set of gauges than usual.  Employing lighter gauges for a baritone-register tuning brings a more delicate; almost lacy, kind of tone and voicing.  To have that near-hazy texture of a timbre on a lower-tuned instrument is quite interesting to me.  I've never liked the sound of lighter gauges, but on this instrument in this register, I'm rather drawn to them.  

I used the C baritone on a few of the compositions on the forthcoming album by Sandor Szabo and me.  The album is entitled The path at the end of the mind, and is released in October 2026 by Greydisc Records.  It makes such a stark contrast and yet a harmonious pairing alongside his 16-string classical guitar, which is the instrument he used on the entirety of the album.  I didn't use the baritone on the whole record; I used two other instruments along with it. 

I can't explain the seemingly sudden change of preference for lighter string gauges on a baritone-register instrument.  It could be that it's an appealing and intriguing change for the D-12-28, which has a somewhat darker voicing than most 12s.  The upper registers aren't in balance with the bass registers, and perhaps the lighter gauges lend more brightness and clarity to the overall instrument.  

I'm so pleased with its, to me, unusual voice that I'll no doubt be using it on some upcoming studio dates in other settings.   

No doubt there will be more 12-string missives in the near future.

-kk