In past days, during which corresponded with Master Kambiz Sinichi, pioneers in the field of construction professional classical and flamenco guitar, we had a conversation as an interview.

 In this context, it became necessary for the coordination, the interview published on the website and magazine of Kerman flamenco. Mr. Kambiz Sinichi born in 1344 in Tehran, and...

As first question, how many years you working and build guitars?

Since 1373 I made a slave classical and flamenco guitar.

How did you and whom from learned this arts faculty to make guitar and what fields and patterns you use?

First of all, I need to say that I have knowledge about tools for working with wood in adolescents. For classical guitar using the little book that could provide (the English) me started to study and practical work during study and I hade good experience in work and study together and parallel to each other. My guitar player friends experience in the field of activity help me and took me consult, a paper about the classical guitar or flamenco interesting to me and I read that, I try and summary of all facilities for learning the guitar to use in construction. The most classical and flamenco guitar making template for my guitar project of Antonio Torres , that many famous maker in the world today changes his plan and made theirselves structure.

How do you generally evaluate the situation of Iranian guitar made?

I didn’t see other master’s guitars, so I can not properly evaluate them. But any case I hope all these ones are successful in their work.

How do you evaluate generally Position of your instruments between musicians and how are Iranian musicians welcomed to your instruments?

Group of musicians are interested in my work and use my instruments, another group I know that have my guitars and have others too, and some the other congenial group of guitar players that don’t use my works. Summary although everyone with any building is respectable for me and I wish good luck growing to all of them.

What characteristics a flamenco guitar must have in your opinion?

In short, a good flamenco guitar should first of all, have the character of the sound that is specific flamenco music with a good quality to play. Second while tuning the guitar must be very clean, I mean is that in all parts of the guitar, there must be good balance and resolution between trible and bass weirs. Other categories, as well as action wire guitar techniques for the implementation left hand comfortable. And Summary of wood while quality is used in making guitars.

Did you have competent in making other instruments?

Few have had experience of the UD.

As an Iranian, are u use Iranian instrument construction techniques in building your guitar?

Each building its own manufacturing techniques and is has its own tools. May in certain fields resembles in construction, but generally, guitar structure of the instruments is different.

That is called, constructive sense instrument to instrument are passed from you is how much accuracy and how you believe it?

I believe, every manufacturer should be having himself making style and the method. I do try my methods create the organization. Naturally, the combination of these methods in the technique and feel is created. I can move the road a technique and the reason it exists and the other side of the nature and policy.

 Do you play any music instrument?

Currently very low and just to analyze the sound of my guitars.

What kind of music do you listen more?

All styles of music to hear, but classical music and traditional Iranian music are two that I like more.

In your opinion, what relationship between structure and instrument playing and building are there? If the player is familiar with the compromise in the structure of playing how he affects in making?

I think, the manufacture makes an instrument and musicians create the soul for it.

There is a great effect, but the player aware of the structure is relative instrument automatically, for example, he can maintain and care for your instrument held very positive impact.

We heard your instruments outside the country are known and can be confirmed. What is your comment in the field? Would you explain to me a little about this?

 Fortunately, those who are satisfied with my instrument.

More you can make instrument with order, or just make and sell the instrument?

I not established a large number of instrument each year. Often work with the order but I sometimes several instrument like the free form.

You transfer your art, teaching guitar construction have also followed?

I still much construction in classical and flamenco guitar to learn and to teach the instrument making, who is an honor for me, I think still is early.

As a constructive instrument, what is important to maintain the instrument?

Always keep cleaning the instrument. Clean sweat of fingers on the wires with the a tissue (for more long life wires). If the guitar for a few weeks we will not throw a curtain of wires to relax. The instrument does not impact, especially in transportation. Don’t put instrument in the vicinity of very hot or very cold air, appropriate a good cover to your instrument.

 And the last talk?

 Thank you so much with kind and good luck and success wishes for all the artists of our country.

Date: 16/12/2009

interview: hojjat kalantari

translating: taher mahmoudabadi