The Cuban laud (laúd cubano) is a type of a Spanish laud. The size is between a laud and a bandurria and it is tuned a bit higher than the Spanish laud. It has 12 metal strings in 6 double courses that are played with a plectrum. Mostly chords are played, with solos to fill in between the vocal lines. Combining Cuban rhythms and harmony to the special features of this instrument, results in a unique expressiveness.

Ernesto Luís is one of the few masters of this type of instrument worldwide. Aracombó revives the expression of the Cuban laud, experimenting with different music genres of Mexico and Brazil.

The Brazilian seven-string guitar is an acoustic guitar with one additional string, commonly used to extend the bass range. It was introduced to Brazil in the early 20th century as a steel string guitar, probably brought by Russian migrants. This guitar was used in Brazil primarily in choro and samba, being developed throughout the 20th century in the "baixaria" (counterpoint and accompaniment technique in choro and samba), especially by musician Dino 7 Cordas. In the early 1980s the nylon string version was made, and has become the norm for most contemporary choro musicians in Brazil.

Carlos Corona plays the Brazilian seven-string guitar in Guadalajara, Mexico, and discovers many possibilities to integrate the Brazilian “baixaria” in other music genres. Aracombó presents this fusion of the Brazilian seven-strings guitar in Cuban and Mexican music genres including the Cuban laud and voice. A great experiment with great new flavors!

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