Resonances.......fritz mueller
Resonances | ||
Copyright © 2012 Fritz Mueller |
Resonances and Chladni PatternsGuitars, like other musical instruments, display several distinct resonances that are important determinants in the sound of the instrument. These resonances occur at a range of frequencies and, interestingly, have unique shapes that usually appear in a predictable pattern as one progresses from low to high frequency (or low to high notes, to use musical terminology). The behavior of the resonances is complex and is not especially well understood by physicists, particularly in regard to the question of what makes a great guitar. Nevertheless, I have found resonances to be a very useful tool for improving and giving consistency to my instruments. Dealing with wolf notes, dead notes, and issues such as balance, power, and timbre, plus many others, are all made much easier with a knowledge of resonances. For centuries luthiers have tapped wood with their knuckles to learn the pitch (or frequency) of the resonances involved, and that method, involving hands and ears and musical judgment, is unlikely to ever be replaced. However, it is also very helpful if the builder can see the shape of a resonance as well as hear it, and for that other methods are available. Physicists use holography and other sophisticated techniques to see the resonances, but in the working guitar shop, a simple and very effective method is the creation of resonance patterns using a sound generator, a speaker, and tea leaves. These resonance patterns or modes are often called Chladni patterns, named for the German physicist, Ernst Chladni, who first developed the technique in the nineteenth century. |
Here is the equipment I use in my shop to create Chladni patterns. Only the tea leaves are missing! The tea leaves vibrate to non-moving areas of the top (called nodes). This is the fundamental resonance of a recent guitar, and its frequency shows on the counter. At 193 hertz (cycles per second) it is very close to the frequency of G3. Here are a few other resonances of the same guitar. You can see how the patterns change as the frequency rises. This is 270 hertz. |
289 hertz. |
307 hertz. |
388 hertz. |
410 hertz. |
432 hertz. |
508 hertz. |
551 hertz. |
So how do the resonances, as heard with a tap of a knuckle or seen in a Chladni pattern, relate to the musical qualities of the instrument? At a resonance a guitar is vibrating very efficiently, which means that the notes whose frequencies are near that resonance are strong and easy to produce. When you play along the strings on most guitars, you notice that some notes are slightly louder, with a faster attack and better definition. These notes are being supported by a resonance. Conversely, the notes that are quiet and sluggish (or even dead) probably don’t have a resonance nearby to help them. In order to achieve balance and evenness, the luthier’s task is to disperse the resonances so that they can support notes everywhere on the fingerboard, from the lowest bass notes all the way up to the highest frets on the 1st string. If the goal is to have a stronger treble, then the luthier tries to have more and/or stronger resonances occur at higher frequencies. And if a more powerful bass is the objective, then the resonances at lower frequencies are emphasized. Part of the challenge for the luthier is to locate the frequencies of the resonances close to those of the notes to be supported, but not at exactly the same pitch. Wolf notes are examples of notes that are supported too closely by a resonance. At the particular pitch of the wolf note, the resonance is allowing the guitar to work so easily that the sound is loud and honky. The solution is to move the resonance away from the note; sometimes a distance of only a few hertz is adequate. The fundamental (or lowest) resonances of the top and back are important factors in the basic tonality of the guitar. In actuality, the physics of the guitar are so complex and so little understood that setting the resonances of the top and back plates at particular frequencies can only be an approximation – a form of shorthand – for all that is really happening. Nevertheless, these resonances do seem to determine qualities inherent in the character of the instrument. Show an experienced player a guitar with fundamental resonances set high (or low) and the comment is likely to be: “Nice, but it doesn’t really sound like a classical guitar.” The fundamental resonances of the tops of the Hauser guitars that I have examined range from F# (185 hertz) to G (196 hertz). It is my understanding that Segovia’s famous Hauser (which I have not examined) also has a top resonance near G, and for many years I have taken this as a target for my own work. Segovia’s Hauser also apparently has a back resonance near A (220 hertz), which corresponds with my own research on other Hauser instruments, and which I use as a target resonance for the back. Initially, of course, I used these targets on traditionally-built, solid top instruments. Now I use them to give my double-top guitars the familiar, beautiful classical guitar tonality. In the future I hope to enlarge this discussion of resonances, but because the topic is probably of interest only to builders and technically-minded players, I plan to put it in a separate section of my website. I welcome correspondence from both players and builders about the subject. |
-
좋은 자료 잘 봤습니다. 감사합니다.
-
통이 이상하게 부풀어져 있는데여...
-
기타가...목청이 하루만에???
-
적당한 습도와 황홀한 경험.
-
수님의 말대로... 샤콘느현이 변할까..?
-
손톱이 약해서 쉽게 뿌러 지시는 분들........
-
[re] 손톱이 약해서 쉽게 뿌러 지시는 분들........
-
8현기타는 기타의 진보된 형태다?
-
질문 한가지 드립니다.
-
[re] 8현기타는 기타의 진보된 형태다?
-
[re] 8현기타는 기타의 진보된 형태다?
-
www.acousticgt.com
-
프렛방식의 상현주---아벨가르시아.
-
수님쇠줄기타도만들어주실수있나요
-
[re] -클래식기타의 모습을 한 스틸스트링기타를 만들수 있나요?
-
기타에서 부채살은 무슨 역할을 하나요?
-
http://www.lmii.com
-
.
-
진지선생이 만든 기타...
-
[사진] Guitar 스트링 묶는법 (by Martin)
-
시더와 스프루스의 조합은 불가능???
-
한번 더 게겨봅니당---인조손톱!!!
-
[re]흑!!!... 뭘 해도 안된당...
-
좀 허접 스럽지만 경험에서 나온 조언들입니당. ^^
-
인조손톱하면...네일아트에서 사용하는 플라스틱손톱
-
예민한 기타? 멍청한 기타?
-
[아랑] 진지하게 논의해 봅시다........아우쎌이 지적한 스프러스와 시더의 음색
-
일단 이 말이 타당성이 있나요?
-
[re] 바로크와 스프러스!!
-
피치가 완벽한 기타는?
-
롤프 아이힝어에 대해....
-
담만을 쳐보다...
-
담만류의 2중판은
-
디..
-
[re] 디용(dyen)을 연주해보셨구낭....
-
[re] 디용(dyen)을 연주해보셨구낭....
-
조율에 따라서 음정이 뭉게지는데...
-
소리, 연주자에 의해 좌우된다.스트라디바리우스와 현대 바이올린, 그 차이점은 무었인가?
-
go classic 에서 퍼온글입니다..
-
이런 기타 있었으면 좋겠어요.
-
연주회 포스터할만한 사진이나 그림 없을까여?
-
[re] 연주회 포스터할만한 사진이나 그림 없을까여?
-
지판과 헤드를 흑단으로...
-
멋뜨러진 기타가 좋아요!!!!!!!!!!!!!!!!!!!!!!근데 돈이 엄따
-
로제트는 어떻게 만드나요?
-
스프러스와 시더
-
저렴한 기타의 꽃단장?
-
기타 앞판에 쪽물 들이면 이쁘겠다...
-
클래식과 통키타의 헤드머쉰...
-
사운드 홀..
-
앞판에 붙은 부챗살의 갯수는 몇개가 이상적일까여?
-
☞ 이런 그림은 어떨지^^
-
바이올린에는 사운드포스트라는 게 있다던데.....
-
☞ ☞ 바이올린에는 사운드포스트라는 게 있다던데.....
-
지판의 재질도 음색에 영향을 주나요?
-
☞ 바이올린에는 사운드포스트라는 게 있다던데.....
-
그리고요....
-
웅수엉아...과연 우리나라에서 기타를 처음제작하신분은 누구일까요?
-
키틴제 도료에 대해...
-
☞ 위에 기타 뒷사진.
-
신현수님 홈페이지가 궁금하신분들..
-
기타의 앞판이 이러면 어떨까..???
-
☞ ☞ 기타의 앞판이 이러면 어떨까..??? 수님이 답좀
-
나무의 세포벽은 무엇으로든 간에 채워지는것이 좋을까요?
-
☞ 기타의 앞판이 이러면 어떨까..??? 수님이 답좀
-
저도 한마디............
-
☞ 사포편, 제작과 관계는 없지만...
-
☞ 일이되는 디자인 .....사포편. 저도 한마디........
-
으미~ 기타는 어케 만드는쥐요?
-
☞ 피안나는 디자인.....공구편. 저도 한마디
-
위의 글들을 읽으니 저도 기타를 만들어보고 싶네요...
-
피에서 쇠냄새나여.
-
가야금, 거문고는 어떤줄을 쓰나요?
-
에~~~ 미워요..
-
명주실은요
-
☞ 가야금, 거문고는 어떤줄을 쓰나요?
-
☞ 안족상단에 상아를 입히면?
-
명주실에 대해 좀더 알려주셔요,,,
-
거문고 가야금 오리발이 세개인 이유?
-
두개의 다리로 선다말예요?
-
여태본 굴비중 가장 깨끗한 굴비당.
-
☞:거문고 가야금 오리발이 세개인 이유?
-
☞:빠진게 있네요.
-
천만에여.....
-
난 현악기에서 나는 쇠소리가 시러여.
-
☞ 비올라 다 감바를 연주하면 되~~~지!!
-
접히는 기타.
-
첼로에서 나는 쇳소리라는건...
-
아
-
첼로에서 안쇠소리나는 음반 혹 들어보셧어요?
-
혹시...그 오됴...
-
혹시...그 오됴...멀쩡해여.
-
첼로같은 찰현악기에서 쇠소리는 당연한거 아닌가요....
-
테스트 해봤더니...
-
테스트 해봤더니...거봐여...
-
근데... 그럼 쇠소리는 모고 왜나는 걸까여??
-
현의 길이에 대한 생각....
-
현길이 그 다양한 완성.
-
프렛과 음정 이야기. -_-;
-
☞:현의 길이에 대한 생각....
-
평균율은 원래 고개 절래절래 하데요?
Designed by sketchbooks.co.kr / sketchbook5 board skin
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5