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. |
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번호 | 제목 | 글쓴이 | 날짜 | 조회 수 |
---|---|---|---|---|
1133 | 나의 습도 유지방법 1 | phr | 2006.12.12 | 6018 |
1132 | f홀 기타..... | 말괄량이 | 2000.06.15 | 6011 |
1131 | 가격대별 기타 사진(headstock, rosette, label) | 고정석 | 2001.04.08 | 6009 |
1130 | 마뉴엘 콘트라레스를 알고시퍼여.. | 민성 | 2000.08.31 | 6006 |
1129 | 상하현주 가공 질문 드려요~ 11 | 상하현주 | 2005.11.28 | 6005 |
1128 | ☞ t-brace. 5 | 서정실 | 2001.05.09 | 6000 |
1127 | 야이리 기타를 구입했어요^^* 4 | 욱이 | 2002.02.07 | 5999 |
1126 | 기타조율에 대한 여러분의 경험과 의견을 듣고 싶어요 ^.^ 16 | 백철진 | 2004.02.08 | 5998 |
1125 | [re] 띵가띵가님의 다니엘 프리데리히. | 콩쥐 | 2007.09.30 | 5981 |
1124 | 목재정보 | 수 | 2016.05.30 | 5978 |
1123 | Ruiz Pipo - Cancion y Danza No.2 악보 부탁드립니다~ | 기타사랑~ | 2005.07.15 | 5975 |
1122 | 줄에 관한 질문 1 | 갈리지니어스 | 2005.02.04 | 5972 |
1121 | 수리 완료된 원음8호 5 | gdream7 | 2006.01.02 | 5971 |
1120 | 하모닉스 어떻게 하는건가요. 1 | 시인 | 2004.12.09 | 5969 |
1119 | 스프러스와 시더 3 | 무아 | 2001.04.19 | 5962 |
1118 | [re] 구로사와.............고악기 | 수 | 2004.10.11 | 5962 |
1117 | 역시 기타를 칠려면 손가락이 가늘고 길어야 ㅠㅠ | 기타는멋쟁이 | 2006.01.18 | 5957 |
1116 | 갈릭...줄 말인데요.. 13 | korman | 2006.09.21 | 5957 |
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1114 | 마르비 제작클래스 이야기 - 에필로그 9 | 새솔 | 2007.02.13 | 5953 |
1113 | 작업 12 | gd7 | 2006.02.24 | 5949 |
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1111 | 셸락이라구여? | 형서기 | 2000.07.26 | 5944 |
1110 | 헤드 | sangsik | 2003.05.04 | 5942 |
1109 | 장력 1 | 기타쟁이 | 2007.12.19 | 5940 |
1108 | 혹시...그 오됴... | 형서기 | 2000.10.10 | 5937 |
1107 | 지판과 헤드를 흑단으로... 2 | 으랏차차 | 2001.06.09 | 5937 |
1106 | 질문염... 옆뒤판을 마호가니로 만들면 로즈우드하고 음색이 어떤 차이가 있을까요? | 우 | 2001.09.04 | 5928 |
1105 | Rodolfo Camacho 헤드 | 형서기형 후배 | 2000.09.01 | 5920 |
1104 | 내가 갖고 싶은 기타(2) - Dammann-Cedar | 일랴나 | 2000.12.28 | 5920 |
1103 | 기타 제작에 필요한 책 1 | 간절한 제작가 | 2005.09.25 | 5899 |
1102 | 제작을 하면서 18 | 철공소사장 | 2005.06.14 | 5889 |
1101 | 요즘 중고기타가격이.... 3 | 매냐 | 2003.07.19 | 5880 |
1100 | 스페인..그라나다 제작자의 연락처 | 수 | 2003.07.07 | 5877 |
1099 | 야이리 기타를 사려고 하는데요.. 3 | 욱이 | 2002.02.01 | 5868 |
1098 | 명주실은요 | 이재화 | 2000.10.28 | 5867 |
1097 | 픽업에 관하여... | Freudenthal | 2004.11.01 | 5865 |
1096 | 토레스 플렌입니다... 1 | 박민병 | 2006.12.11 | 5859 |
1095 | Torres FE-17 copy guitar trilogy by Michael Thames 2 | 고정석 | 2017.08.15 | 5858 |
1094 | 공지......기타이야기 게시판은요 | 수 | 2017.08.02 | 5844 |
1093 | 기타구입은 정말 힘들어여~~ | 혁 | 2003.09.17 | 5839 |
1092 | La Guitarra California – 기타 전시회 1 | bluejay | 2003.10.29 | 5832 |
1091 | 작업3 14 | gd7 | 2006.02.26 | 5828 |
1090 | 브라질 제작가 명단과 주소. | 수 | 2000.07.19 | 5825 |
1089 | 류트 공방에서의 영상 | 콩쥐 | 2015.08.03 | 5824 |
1088 | 현의 길이에 대한 생각.... | 개털 | 2000.09.18 | 5822 |
1087 | 기타를 항공으로 보내는방법. 4 | 수 | 2007.01.07 | 5818 |
1086 | 뒷판 | sangsik | 2003.05.04 | 5815 |
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1084 | 좋은 악기의 기준? | 토토 | 2003.05.21 | 5812 |
1083 | Daniel Friederich, Luthier - 5 Minute Trailer 3 | 고정석 | 2017.08.15 | 5810 |
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1080 | [re] 철공소사장님이 만든기타 | 여름은가고 | 2005.06.14 | 5796 |
1079 | 마르비 제작클래스 이야기 - 기타의 재료에 대해서 2 | 새솔 | 2007.02.05 | 5792 |
1078 | Jonathan Hinves 덧붙여.. | 형서기 | 2001.03.08 | 5789 |
1077 | r.e.brune price | brawman | 2000.07.06 | 5789 |
1076 | A forgotten Instrument 3 | iBach | 2003.04.09 | 5784 |
1075 | 해드가 신기하게 생겨서... 4 | 목향 | 2001.04.30 | 5775 |
1074 | [사진] Guitar 스트링 묶는법 (by Martin) | 木香 | 2001.12.25 | 5772 |
1073 | 통이 이상하게 부풀어져 있는데여... | 고정욱 | 2002.01.28 | 5770 |
1072 | 여름철 기타 관리 요령... 1 | 木香 | 2002.03.23 | 5769 |
1071 | [re] 무쟈게 성실한 마르비 1 | 콩쥐 | 2006.09.19 | 5763 |
1070 | 예민한 기타? 멍청한 기타? 7 | 뽀짱 | 2001.12.08 | 5762 |
1069 | 웅수엉아...과연 우리나라에서 기타를 처음제작하신분은 누구일까요? | 명노창 | 2000.12.25 | 5761 |
1068 | 12줄 Kali... 2 | 간절한 | 2002.07.27 | 5759 |
1067 | 재미있는 브릿지 디자인이 있어서... 6 | 서정실 | 2006.05.12 | 5755 |
1066 | '사바레즈 '의 특징은 뭐예요? 4 | 진 | 2001.05.31 | 5750 |
1065 | Ian Kneipp guitar 13 | 으랏차차 | 2002.03.17 | 5750 |
1064 | 현길이 그 다양한 완성. | 개꼬리 | 2000.09.21 | 5746 |
1063 | 기타 구입 조언부탁드려요.. 3 | 석럽 | 2018.10.31 | 5746 |
1062 | 앞판은 세상에서 가장연한 나무로 그리고 옆판과 뒤판은 대리석을 얇게 짤라서.... 1 | 명노창 | 2000.08.05 | 5742 |
1061 | 우와...좋은아이디어 생각났어요.... 16 | 수 | 2006.03.04 | 5738 |
1060 | orpharion 사진입니다. 1 | 학생 | 2003.12.12 | 5734 |
1059 | [re] Bouchet와 Weissgerber | 최동수 | 2008.07.11 | 5733 |
1058 | 클래식기타, 포크기타의 현높이... 1 | 木香 | 2001.07.21 | 5730 |
1057 | 작업2 8 | gd7 | 2006.02.24 | 5727 |
1056 | gsp? 궁금하네요.. | 고은별 | 2000.10.05 | 5724 |
1055 | ☞:마티아스 담만...... | 명노창 | 2000.10.22 | 5723 |
1054 | GSP 하루 후 연주후기.... | 명노창 | 2000.10.04 | 5722 |
1053 | audioguy님 이렇게 해보셔여~~^^ 2 | 혁 | 2004.10.07 | 5717 |
1052 | [re] 마르비와 함께한 기타 제작기. 1 | 김중훈 | 2006.09.19 | 5717 |
1051 | 바리오스의 기타? 2 | 웅수 | 2000.07.16 | 5716 |
1050 | 앗! 또 예술적인 로제트 발견! 9 | 차차 | 2003.04.03 | 5715 |
1049 | [re] 마르비와 함께한 기타 제작기. 7 | 김중훈 | 2006.09.19 | 5714 |
1048 | 한가지 더. | malhute | 2000.09.29 | 5711 |
1047 | 로제트 6 | sangsik | 2003.05.04 | 5711 |
1046 | [re] 바로셀로나의 palau de la musica 공연장..... 1 | 콩쥐 | 2007.07.27 | 5711 |
1045 | Carbon Fiber Cello - How It's Made 2 | 고정석 | 2007.12.09 | 5711 |
1044 | [정보] 기타용 댐핏에 대하여.... 3 | 木香 | 2001.10.06 | 5706 |
1043 | 장력에 관하여.. 4 | gogododo | 2002.10.02 | 5706 |
1042 | 신현수님 홈페이지가 궁금하신분들.. | 변소반장 | 2000.11.24 | 5705 |
1041 | 기타의 좋고 나쁨에 대하여.. 9 | 차차 | 2003.07.14 | 5703 |
1040 | [요청] 내 악기 소개 게시판 만들어 주세요 10 | 요청 | 2007.10.10 | 5699 |
1039 | [re] 친구네 집에서 업어온 기타 | 쉑 | 2004.01.26 | 5696 |
1038 | 기타제작에 관한 책.1 | 수 | 2000.11.29 | 5693 |
1037 | 중국기타제작가 방인준씨 이야기... 1 | 차차 | 2003.07.14 | 5692 |
1036 | [re] 제 기타 사진이네요. 제작자를 맞추어 BoA요~ 1 | 양 | 2004.01.11 | 5690 |
1035 | 째즈기타라는게 어떤 특정한 기타가 있습니까? 9 | 우주비행사 | 2006.07.13 | 5686 |
1034 | Guitar Humidifier 3 | 고정석 | 2004.10.26 | 5683 |
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