Harmonic Voicing of Acoustic and Classical guitars
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- Опубліковано 25 кві 2021
- Harmonic voicing, the final step in building the highest quality classical and acoustic guitars, is described and demonstrated by Chuck Morrison.
Music Intro: Lament by Chuck Morrison
Music epilogue: Fur Elise Ludwig Beethoven
Book referenced: Contemporary Acoustic Guitar Design - Build by Trevor Gore, Girard Gilet
goreguitars.com.au/main/page_...
I do not get anything if you purchase this book, but it is the best book out there on the subject. Note that it is not easy reading and directly stated conclusions can be hidden in plain sight.
Thanks to Trevor Gore, Alan Carruth and the denizens of the Left Brain Lutherie group.
Guitars built by Chuck Morrison: cfmorrisonguitars.com
Thank you for sharing what no one else seems willing or able to share. I would say that I have watched nearly every youtube video, read more books on the subject (even the $200 double book set) than I can count and this information is not there. It seems that all the videos relating to the voicing of the top are more for show than education as there is missing context. This is the context that I have been looking for.
Thank you.
Thanks Ron, context is important and I'm glad you were able to get that from this video. Now come the hard part.
Good video how did you determine the thickness of the top ? Is there a specific Hz you use to determine when the thickness has been achieved?
Thank you for showing the use of Audacity. I have read both volumes of the Gore / Gilet book and I'm getting ready to build my first acoustic guitar (I've built a lot of solid body instruments). I am hoping to get the design very close before the guitar goes together, but I have a feeling I'll be modifying mass and sound hole size after the box has been closed. -Greg
Easy to understand explanation of a complex topic, good job. I'm struggling with an acoustic electric archtop that's perfect in every way for me except for weak thudding B flats in multiple places. I'm amazed how sensitive and complex a guitar is. Your instruments sound wonderful, even that oak build.
Goodluck with your channel and thanks.
Thank you, understanding this and having ways of changing the pitches of top, air and back are key to making each guitar as evenly responsive as possible.
Good luck with figuring out the B flat thudding. Arch tops are different but the same basic principles apply.
Where does the added weight go ? Under the bridge?
Thanks a lot for sharing with us your knowledges and experience! Few months ago I finished my first ever acoustic guitar, and, of course, it has wolf notes. A# sound so boomy. Thaks to your video I know how to fix it. So I'll try to increase the mass of the top and maybe decrease the resonanse. BTW can there be a plywood or wood ring, glued from inside of the top to turn sounhole to short sound tonnel? Smth like is made in Fender Acoustasonic guitars, gut I have never heard them unplugger/mic recorded. Sorry for my English, it's not my native.
Yes, it's possible to improvise a tornavoz which will decrease the air resonance frequency of the body's air cavity. Don't expect it to affect only the air resonance though, On most acoustic/classical guitars the air and soundboard resonances are "coupled". That means that raising or lowering one affects the other similarly. If the back is similarly coupled it becomes a 3 way dance trying to figure out how to move things around enough to kill, or at least lessen, the wolf notes.
Ciao vedo con piacere che hai studiato un pochino della fisica della chitarra classica in termini di volume dell aria , però devo dissentire su altri argomenti , in primo luogo la struttura della chitarra è elastica soggetta a dei forti cambiamenti atmosferici , quindi non è solo la lunghezza dell onda che incide , ma un insieme di fattori che dobbiamo tenere in mente la prima cosa è che ne va fatto un calcolo per litri che poi va per il collo della bottiglia , poi l elasticità della tavola e del fondo , che tu fai in maniera diversa di come va fatto tradizionalmente , da tre millimetri non lo faccio di certo , anche perché ritengo che deve interagire con la tv , quindi la completezza del dipolo, in ogni caso alcune chitarre hanno 129 hz sul colpo dato ma sul movimento interno dell aria si arriva a102hz ma non risultano avere interferenza con il sol a 196, ma perché va a204 hz , devo dire che mi è sembrato interessante il lavoro alle spalle , di certo ne ridarà alcune perdite ,ma non sono d accordo con il doppio top con il nomex , ne con il fondo troppo spesso , con questo non vuol dire che io sia in possesso della verità , bisognerebbe confrontarle in studio di registrazione , perche vedi in una sala grande la direttività dello strumento può essere tutta di fronte , e quindi dare l impressione di un maggior volume ed efficienza sonora , ma quando sei in una stanza piccola il suono diventa pari , perché in quel vecchio strumento poi ci sono le armoniche che escono da tutte le parti , di questi dati mi piacerebbe sapere la tua impressioni , ciao
you are talent in building guitar with your scientific analysis and physics theory to solve the harmonics consistency problem. i ever tried a few extreme expensive guitar like damman, muller, smallman. only smallman can solve the wolf note dead note, harmonics problem by adding small spot of weight under the sound board. damman, muller and others expensive one cannot solve this problems, they have a few dead and wolf in some notes.
Thank you. All very responsive guitars (expensive or not) have the potential for dead and/or wolf notes. The knowledge of how to fix this, or at least make it better, is not secret if you know where to look. However, it does take a lot of time to do correctly.
sir how to add the weight on the already built instrument ?
To start with, use adhesive tape or the type of tape that is used to hold microphones inside acoustic guitars. Once you have tested the weight and location to get the desired frequencies, they you can use a more permanent adhesive.
It sounds a bit more deeper, but not sweeter.