Resonances.......fritz mueller
Resonances | ![]() | |
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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. |
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307 hertz. |
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388 hertz. |
![]() |
410 hertz. |
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432 hertz. |
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508 hertz. |
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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. |
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번호 | 제목 | 글쓴이 | 날짜 | 조회 수 |
---|---|---|---|---|
1634 | ☞:안녕하세요..명노창입니다. | 김남호 | 2000.08.16 | 4261 |
1633 | ☞:기타줄 받으셨는지 궁금하군요... | 명노창 | 2000.08.16 | 4325 |
1632 | 아! 만재 선생님이 거기 계시는 군요! | 泳瑞父 | 2000.08.16 | 4268 |
1631 | 71번글. 글쎄요? 과연 그럴까요? | 개풀 | 2000.08.17 | 4507 |
1630 | 하하 ...내친구... | 화음 | 2000.08.17 | 5516 |
1629 | 개풀님~ 하하 ...다혈질이시져? | 개풀 | 2000.08.18 | 4108 |
1628 | 가장 음량이 큰 기타는 ?? | 지우압바 | 2000.08.18 | 5402 |
1627 | 가장큰음량의 기타? | 지우압바 | 2000.08.18 | 4530 |
1626 | 음량의 이중성. | sophia | 2000.08.18 | 5156 |
1625 | 음량의 이중성. | 개풀 | 2000.08.18 | 4425 |
1624 | 2%님은 나머지 98%를 어따 뒀어? | sophia | 2000.08.19 | 5100 |
1623 | ☞개풀님은 나머지 98%를 어따 뒀어? | 개풀 | 2000.08.19 | 4447 |
1622 | 사오정?...으..부들부들 | sophia | 2000.08.19 | 4615 |
1621 | 사오정?...으..부들부들 | 개풀 | 2000.08.19 | 4458 |
1620 | 고음의 명료함이라... | 형서기 | 2000.08.22 | 4571 |
1619 |
☞:베렌트의 사망원인.
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whisky | 2000.08.24 | 5205 |
1618 | ☞:고노기타 가격이....2. | 수 | 2000.08.25 | 5632 |
1617 | 내가 원하는 기타는... | 지우압바 | 2000.08.25 | 4890 |
1616 | 호세 로마닐료스라는 악기에 대한 생각(?).... | 왕초보 | 2000.08.25 | 7107 |
1615 | 그 아름다운 기타는... | 수 | 2000.08.25 | 4488 |
1614 | 역시 내가 원하는 악기도... | 泳瑞父 | 2000.08.25 | 4337 |
1613 | ☞:내가 원하는 기타는... | 개풀 | 2000.08.25 | 4343 |
1612 | ??? | 언플러그 | 2000.08.26 | 4925 |
1611 | ☞:내가 원하는 기타는... | 김남호 | 2000.08.27 | 4079 |
1610 | ☞:쇠줄기타(통기타) 한대만들라고하는데... | cc | 2000.08.28 | 4703 |
1609 | 8-stringed guitar.....brahms guitar. | 수 | 2000.08.28 | 41735 |
1608 | 쇠줄기타의 난문제. | cc | 2000.08.29 | 4445 |
1607 | 제 뜻은 옆판과 뒷판은 비중적으로 앞판과 정다른 가장 단단한 나무를 사용해야... | 명노창 | 2000.08.29 | 5359 |
1606 | 제 뜻은 옆판과 뒷판은 비중적으로 앞판과 정다른 가장 단단한 나무를 사용해야... | 개풀 | 2000.08.29 | 5577 |
1605 |
쇠줄기타의 난문제.
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whisky | 2000.08.30 | 4705 |
1604 | 마뉴엘 콘트라레스를 알고시퍼여.. | 민성 | 2000.08.31 | 6140 |
1603 | 콘트라레스는요.... | 수 | 2000.08.31 | 5118 |
1602 | ☞:앞판은 세상에서 가장연한 나무로 그리고 옆판과 뒤판은 대리석을 얇게 짤라서.... | 개풀 | 2000.08.31 | 4044 |
1601 | 개풀입니다1 | 개풀 | 2000.08.31 | 5175 |
1600 | 개풀환영. | 개 삐다구 | 2000.08.31 | 4700 |
1599 | 짧은 식견이지만.. | 화음 | 2000.08.31 | 4520 |
1598 | ☞:개코입니다. | 개코 | 2000.08.31 | 4676 |
1597 | 짧은 식견이지만.. | 개풀 | 2000.09.01 | 4548 |
1596 | 좋은 생각입니다.. | 개털 | 2000.09.01 | 4744 |
1595 | ☞:개발입니다. | 개발 | 2000.09.01 | 5128 |
1594 | ☞: 얼마전에 고노를 사랑한다고 했다가 님으로 부터 뒤지게 욕먹은.... | 명노창 | 2000.09.01 | 5450 |
1593 | 기타메이커 빠진거 확인부탁여.. | 형서기형 후배 | 2000.09.01 | 4704 |
1592 | 개풀입니다2 | 개풀 | 2000.09.01 | 4621 |
1591 | ☞: 전 명노창님 욕한적 없는데요? 흐흐흑... | 개발 | 2000.09.01 | 4128 |
1590 | 토레스 기타 프랜 갖고 계신가여 수 선생님?? | 형서기형 후배 | 2000.09.01 | 4588 |
1589 |
Ignasio M. Rozas 헤드.
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형서기형 후배 | 2000.09.01 | 6170 |
1588 | paulino Bernabe 헤드 사진 | 형서기형 후배 | 2000.09.01 | 6194 |
1587 |
☞:paulino Bernabe 헤드 사진
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형서기형 후배 | 2000.09.01 | 5740 |
1586 |
Rodolfo Camacho 헤드
![]() |
형서기형 후배 | 2000.09.01 | 6089 |
1585 | 초보를 위한 클래식기타 제작 강습회 제안... | 신우현 | 2000.09.01 | 5342 |
1584 | <font color=blue>구경이라도 하고 싶은데 어찌 안될까요?</font> | 泳瑞父 | 2000.09.01 | 4813 |
1583 | <font color=blue>me?designer게시판의 45번 글쓴이...</font> | m?d 45번 | 2000.09.01 | 5031 |
1582 | ☞: 전 명노창님 욕한적 없는데요? 흐흐흑... | 개풀 | 2000.09.01 | 4644 |
1581 |
기타맹글고 싶어하는분...명단.
![]() |
whisky | 2000.09.02 | 4328 |
1580 | <font color=blue>구경이라도 하고 싶은데 어찌 안될까요?</font> | 형서기형 후배 | 2000.09.02 | 5069 |
1579 | <font color=blue>감샤! 꾸벅! [진짜내용없음]</font> | 泳瑞父 | 2000.09.02 | 5283 |
1578 | We can do it! C~HA~HA! | 맹글고시포 | 2000.09.02 | 4614 |
1577 | 후배님 있쟈나여... | 형서기형 후배 | 2000.09.02 | 5695 |
1576 | 킁킁...논쟁을 위한 준비 운동 | 개코 | 2000.09.02 | 4777 |
1575 | 지우압바가 연주한 기타아! | M.Rozas | 2000.09.02 | 7348 |
1574 | 윽! 이것을 어찌 짜집기 할꼬? | TORRES | 2000.09.02 | 4534 |
1573 | ☞:저도 한몫 거들지요.....(내용없음) | 명노창 | 2000.09.02 | 4640 |
1572 | 베르나베 좋긴 좋더군여.. | hochma | 2000.09.02 | 4833 |
1571 | 베르나베 좋져.... | 형서기 | 2000.09.03 | 4390 |
1570 | 토레스 기타플랜은 여러가진데... | 수 | 2000.09.03 | 5210 |
1569 |
TORRES PLAN FRONT ☞ 왠지 짜가?
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토러스플랜 | 2000.09.04 | 6499 |
1568 |
☞:TORRES PLAN BACK ☞ 그럼 모조?
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토러스플랜 | 2000.09.04 | 6290 |
1567 | 전형적인 토레스. | 수 | 2000.09.04 | 4591 |
1566 | 고질적 문제 3번선... | 개털 | 2000.09.08 | 4944 |
1565 | ☞:고질적 문제 3번선... 동감함다. | 개뼈다구 | 2000.09.08 | 4575 |
1564 | ☞:고질적 문제 3번선... | 개발 | 2000.09.09 | 4600 |
1563 | 개발님의 글은... | 희정 | 2000.09.09 | 4217 |
1562 | 3번선이 얇아지면 해결? | 개팔자 | 2000.09.13 | 5579 |
1561 | 3번선이 얇아지면 해결? | 개풀 | 2000.09.13 | 5309 |
1560 | 음정에 관해 | 개풀 | 2000.09.13 | 4904 |
1559 | 평균율은 원래 고개 절래절래 하데요? | 진국 | 2000.09.14 | 5463 |
1558 | ☞:음정에 관해 | 개뼈다구 | 2000.09.14 | 4857 |
1557 | ☞:평균율은 원래 고개 절래절래 하데요? | 안진수 | 2000.09.14 | 4783 |
1556 | ☞:음정에 관해 | 안진수 | 2000.09.14 | 4582 |
1555 | ☞:음정에 관해 | 안진수 | 2000.09.14 | 4761 |
1554 | ☞:고질적 문제 3번선... | 안진수 | 2000.09.14 | 4795 |
1553 | 개풀님 기타 알아맞추기.... | 개풀 | 2000.09.14 | 4580 |
1552 | ☞:평균율은 원래 고개 절래절래 하데요? | 개풀 | 2000.09.14 | 4647 |
1551 | ☞:음메 어려운거...... | 명노창 | 2000.09.16 | 4041 |
1550 | ☞:음....그 플레타... | 형서기 | 2000.09.16 | 4466 |
1549 | ☞:확실히... | 개털 | 2000.09.16 | 4627 |
1548 | 차라리.. | 길가던나그네 | 2000.09.16 | 4773 |
1547 | 다들 왜 이러지? 호호호! | 99.9% | 2000.09.16 | 4849 |
1546 | ☞:평균율=> 실용적인 악기 제작을 위한 타협 | 개발(CC) | 2000.09.16 | 5023 |
1545 | ☞:확실히... | 개풀 | 2000.09.16 | 4364 |
1544 | ☞:대박찬스....기회는 자주없수다. | 개풀 | 2000.09.16 | 4418 |
1543 | 프렛과 음정 이야기. -_-; | 안진수 | 2000.09.16 | 6219 |
1542 | 정말대박일까? | 개삐다구. | 2000.09.16 | 4592 |
1541 | We can do it! C~HA~HA! | 김 재한 | 2000.09.16 | 4493 |
1540 | Daniel Friedrich라는 제작가에 대해 알려주세용 | illiana | 2000.09.17 | 5432 |
1539 | 골루세스의 기타는... | 뺑코 | 2000.09.17 | 4564 |
1538 | 현의 길이에 대한 생각.... | 개털 | 2000.09.18 | 5954 |
1537 | ☞:현의 길이에 대한 생각.... | 안진수 | 2000.09.19 | 5778 |
1536 | 현길이 그 다양한 완성. | 개꼬리 | 2000.09.21 | 5899 |
1535 |
깔레바로형 기타-Contreras
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가스파르 | 2000.09.23 | 6528 |
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