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 |
---|---|---|---|---|
933 | [re] 줄의 장력이 세게 느껴져요!! 34 | 홍이 | 2003.12.13 | 6791 |
932 | [re] 줄의 장력이 세게 느껴져요!! 12 | 카 | 2003.12.14 | 6117 |
931 | [re]블루제이님의 글(퍼왔습니다) 4 | 수 | 2003.12.15 | 4345 |
930 | 험프리는 특허 냈습니다. (US patent NO. 4,873,909 ) 6 | 학생 | 2003.12.08 | 5912 |
929 | 울림구멍...(포트)... 6 | 나래지기 | 2003.12.08 | 6009 |
928 | [re] 울림구멍...(포트) | 나래지기 | 2003.12.08 | 4591 |
927 | 겨울철 악기관리에 신경쓰세요. - 가습기 종류와 장단점 16 | 고정석 | 2003.11.29 | 8196 |
926 | Plenosom Armrest , Plenosom Pads 판매 2 | 토레스공방' | 2003.12.03 | 6641 |
925 | BRAHMAN #6 3 | 차차 | 2003.11.24 | 5942 |
924 | [re] BRAHMAN #6 | 차차 | 2003.11.24 | 5215 |
923 | [re] BRAHMAN #6 | 차차 | 2003.11.24 | 4455 |
922 | 편안한 기타연주를 위한 GUITAR-AID 를 소개합니다. 6 | ART | 2003.11.16 | 5531 |
921 | La Guitarra California – 기타 전시회 1 | bluejay | 2003.10.29 | 5726 |
920 | 폴 갈브리헤쓰--8현 기타 12 | 혁 | 2003.10.22 | 7934 |
919 | 고메즈의 프렛계산 4 | 아르헨칭구 | 2003.10.21 | 10014 |
918 | 국내 수제품기타 1 | 궁금이 | 2003.09.28 | 6770 |
917 | 기타구입은 정말 힘들어여~~ | 혁 | 2003.09.17 | 5759 |
916 | [re] 기타구입은 정말 힘들어여~~ | 김택권 | 2003.10.09 | 5011 |
915 | [re] 언제든지여^^ 28 | 혁 | 2003.09.18 | 6589 |
914 | 전시회 소식 몇가지 올립니다. 3 | 토토 | 2003.09.03 | 4766 |
913 | 후꾸다 신이치의 "부쉐"를 살수있는 기회. 13 | 수 | 2003.08.11 | 7682 |
912 | bernabe.......kraft가 연주하는 | 수 | 2001.05.22 | 5232 |
911 | ignacio fleta......mikulka가 연주하는 | 수 | 2000.08.08 | 6925 |
910 | 바리오스의 기타? 2 | 웅수 | 2000.07.16 | 5691 |
909 | [re] 바리오스의 기타? | 혁 | 2003.09.16 | 4427 |
908 | hermann hauser | 웅수 | 2000.07.15 | 5047 |
907 | robert bouchet | 수 | 2000.07.15 | 4512 |
906 | bernabe.......kraft가 연주하는 | 수 | 2001.05.22 | 4024 |
905 | ignacio fleta......mikulka가 연주하는 | 수 | 2000.08.08 | 6854 |
904 | 음반 표지 소개. | 눈물반짝 | 2001.04.30 | 4813 |
903 | 바리오스의 기타? 2 | 웅수 | 2000.07.16 | 5598 |
902 | hermann hauser | 웅수 | 2000.07.15 | 4560 |
901 | robert bouchet | 수 | 2000.07.15 | 4476 |
900 | ☞ kasha- schneider | 눈물반짝 | 2001.06.18 | 4627 |
899 | Marcelo Barbero SP/BR (Classical) | 고정석 | 2002.10.19 | 6716 |
898 | Miguel Rodriguez Centenario SP/HR (Classical) | 고정석 | 2002.10.19 | 6844 |
897 | José Romanillos SP/IN (Classical) | 고정석 | 2002.10.19 | 5571 |
896 | Daniel Friederich | 고정석 | 2002.06.16 | 7178 |
895 | 1965 David Rubio Julian Bream SP/BR | 고정석 | 2002.06.16 | 7549 |
894 | 1970 Ignacio Fleta | 고정석 | 2002.06.16 | 9622 |
893 | 미국 중고 기타 가격 정보 입니다. | 수현이네 | 2002.10.08 | 7411 |
892 | 미국 제작가 명단과 주소. | 수 | 2000.07.19 | 4997 |
891 | 브라질 제작가 명단과 주소. | 수 | 2000.07.19 | 5736 |
890 | cg price | 웅수 | 2000.07.17 | 6301 |
889 | g s price. | brawman | 2000.07.06 | 6919 |
888 | banister price. | brawman | 2000.07.06 | 6266 |
887 | cgi price. | brawman | 2000.07.06 | 6605 |
886 | r.e.brune price | brawman | 2000.07.06 | 5685 |
885 | 두번째 압축파일입니다. 2 | 궁금해서요 | 2003.07.24 | 5584 |
884 | 이기타 아무래도 부쉐같죠?(1) 1 | 궁금해서요 | 2003.07.24 | 5186 |
883 | 제 기타에 대하여 알고 싶어요 | 성찰 | 2003.07.20 | 4511 |
882 | [re]Amailio Burget 대하여 | 수 | 2003.07.21 | 4960 |
881 | [re]Amailio Burget 대하여.....gmland님 번역 | 수 | 2003.07.22 | 4423 |
880 | 요즘 중고기타가격이.... 3 | 매냐 | 2003.07.19 | 5801 |
879 | 기타의 좋고 나쁨에 대하여.. 9 | 차차 | 2003.07.14 | 5591 |
878 | 중국기타제작가 방인준씨 이야기... 1 | 차차 | 2003.07.14 | 5579 |
877 | 전설중의 명기 1 | 차차 | 2003.07.11 | 6969 |
876 | 전설적인 명기 | 수 | 2003.07.11 | 6073 |
875 | [re] 전설적인 명기 | 아랑 | 2003.07.13 | 5562 |
874 | [re] 명기라지만... | 수 | 2003.07.13 | 5431 |
873 | 스몰멘을 사려면.. 14 | 익제 | 2003.07.09 | 5146 |
872 | 미국 제작자의 연락처 | 수 | 2003.07.07 | 4410 |
871 | 스페인..그라나다 제작자의 연락처 | 수 | 2003.07.07 | 5789 |
870 | 독일기타에 대해 궁금한게 있는데요 2 | 빌라로보트 | 2003.06.29 | 5041 |
869 | [re] 독일기타에 대해 궁금한게 있는데요 | 수 | 2003.06.29 | 4940 |
868 | 오늘 쳐본 60년도 프리드리히 2 | hesed | 2003.06.26 | 4842 |
867 | 동아리 기타 구입 8 | 빨리... | 2003.06.27 | 5405 |
866 | 앰프 꽂을 수 있는 클래식 기타.. | 궁금 | 2003.06.25 | 5026 |
865 | [re] 앰프 꽂을 수 있는 클래식 기타.. | 지나가는띨빵이 | 2003.06.26 | 5124 |
864 | [re] 앰프 꽂을 수 있는 클래식 기타.. | 수 | 2003.06.26 | 5116 |
863 | 슈퍼칩만들때 노하우좀 갈쳐주세요~~ 3 | Y | 2003.06.24 | 5217 |
862 | 슈퍼칩(브리지단추)... 3 | 정성민 | 2003.05.20 | 6830 |
861 | 제가 생각하는 수제품... 4 | Sangsik | 2003.05.21 | 5379 |
860 | 좋은 악기의 기준? | 토토 | 2003.05.21 | 5703 |
859 | 이런 건 어떨까요? (베이스 리플렉스 포트) | 아랑 | 2003.05.21 | 5442 |
858 | 하카란다가 어떻게 생긴 나무인지 궁금하신 분 6 | woodmania | 2003.05.15 | 6909 |
857 | 이런나무로 기타를 만들면... 5 | woodmania | 2003.05.13 | 7361 |
856 | [re] 이런나무로 기타를 만들면... | 오대근 | 2005.10.19 | 4752 |
855 | Brahman (fleta-humphrey model ) 1 | sangsik | 2003.05.04 | 6047 |
854 | 12홀 상아단추의 길버트모델브릿지 7 | sangsik | 2003.05.04 | 7043 |
853 | [re] 12홀 브리지 현묶은 모습과 이유. 4 | sangsik | 2003.05.15 | 5371 |
852 | 어쿠스틱 포트와 험프리라이징보드넥 5 | sangsik | 2003.05.04 | 6763 |
851 | 헤드 | sangsik | 2003.05.04 | 5841 |
850 | 로제트 6 | sangsik | 2003.05.04 | 5597 |
849 | 뒷판 | sangsik | 2003.05.04 | 5732 |
848 | A forgotten Instrument 3 | iBach | 2003.04.09 | 5699 |
847 | 곰발바닥이란 2 | gaspar | 2003.04.08 | 6227 |
846 | matthias damman [2] 4 | 방 | 2002.10.14 | 5123 |
845 | 아래글 도움 될만한 사진 몇개여..(쓰루넥방식의 베이스) | 기타랑 | 2001.10.27 | 4640 |
844 | 일렉트릭 베이스 기타에 쓰이는 나무랑.. 몇가지 이론들이여. 읽어보시면 잼있어요^^ 1 | 기타랑 | 2001.10.25 | 7422 |
843 | 한국최고의 칠 "황칠" 6 | 일랴나 | 2001.03.17 | 7332 |
842 | 으....이번 여름에 어딜 가야 되는고얌... | 형서기 | 2001.02.23 | 4335 |
841 | 옻나무에선 옻칠이... | 수 | 2001.02.18 | 4163 |
840 | 우리나라 나무사정 | 스기 | 2001.02.01 | 4559 |
839 | [re] 우리나라 나무사정 | 김동선 | 2001.12.19 | 4525 |
838 | ... | 수 | 2001.01.31 | 4749 |
837 | brazilian rosewood. | 웅수 | 2000.07.15 | 7394 |
836 | 왜 로즈우드는 그렇게 기름기가 많은가? 1 | 수 | 2001.07.19 | 5153 |
835 | 세계의 기타제작가 주소...www.cybozone.com에서 퍼왔슴다. | 수 | 2002.09.30 | 10465 |
834 | 프렛계산해주는 페이지(자바스크립트 추가) | 루지에리 | 2002.08.15 | 5419 |
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