2011.02.18 01:59
Anders Miolin이 연주하는 The 13-string Chiavi-Miolin Guitar
(*.176.119.158) 조회 수 14257 댓글 5
http://www.chiaviguitars.comThe 13-string Chiavi-Miolin Guitar
![](http://www.chiaviguitars.com/images/stories/modelle/13saiten/CHIAVIGUITAR_13string_02.jpg)
![](http://www.chiaviguitars.com/images/stories/modelle/13saiten/CHIAVIGUITAR_13string_03.jpg)
![](http://www.chiaviguitars.com/images/stories/modelle/13saiten/CHIAVIGUITAR_13string_04.jpg)
![](http://www.chiaviguitars.com/images/stories/modelle/13saiten/CHIAVIGUITAR_13string_05.jpg)
![](http://www.miolin.com/images/stories/portraits/ANDERS-MIOLIN-02.jpg)
![](http://www.miolin.com/images/imagesLeft/anders-miolin-2.jpg)
Anders Miolin : J.S. Bach - Prelude BWV 998
This instrument is among the most recent developments created in my workshop.
The unusual position of the soundhole, close to the 12th fret region, supports a more effective transferrence of string energy.
The soundboard is slanted, creating additional room for the player's left hand at positions as
high up as the 24th fret!
This advantage is further enhanced by the careful shaping of the neck and fingerboard profile.
The guitar is equipped with an individual length compensation for each string, allowing for a
maximum tuning tolerance of only 2 cent.
This instrument features a wide dynamic spectrum, a clear and voluminous sound, excellent
balance across its entire range and a rich sonic coloration.
Based on the same construction principles as the 6-string model.
The 7th and the 8th strings are tuned to D and C to widen the bass spectrum, and can be played
over the entire fingerboard.
The smart design of this guitar's headstock allows for the additional string's integration without
having to add size or sacrifice visual symmetry.
In terms of basic construction, this guitar is similar to my 6 string model.
The headstock is not much longer or heavier than on a 6string guitar, thus maintaining the
instrument's balance. The additional 4 tuners for the bass strings are accomodated by the
innovative design, which assures ideal sting alignment at the headstock.
Even with 13 strings, this instrument's head is not much longer or heavier than on a regular
6-string guitar. This makes for exellent balance. 7 additional tuners are part of this design, still
the alignment of each string is achieved without creating strong angles, which would result in tuning
and resonance problems.
A custom made capodaster has been developped for this guitar, which enables the player to work
easily in various tunings. The fingerboard is used in its entire width only on the first three frets. This
made it possible to reduce the neck's width in the higher regions. Up until the 12th fret, only 7 of
the guitar's 13 strings run over the fingerboard. Above the 12th fret, it becomes continually narrower.
This allows for a dramatic weight reduction, which proved to be crucial to maintain overall balance.
The additional bass strings provide an entire octave below the known spectrum, the fingerboard
design offers as many as 24 frets. This leads to an overall spectrum of 5(!) octaves.
(A regular 6 string guitar offers only three octaves and one quint.)
The soundboard is slanted at an angle toward the fretboard. This creates better handling in the
region above the 12th fret, where the left hand's thumb can no longer be used to provide counter
pressure for the fingers. This angle also increases the transferrence of string vibration.
The guitar is built using an unusual bracing pattern. This new system offers unparalleled efficiency:
The sound shaping forces are provided evenly over the entire surface, granting the highest possible
strength combined with a very economic use of material, which is important to keep the overall weight
at a minimum. Using this bracing, the top can be built very thinly, thus enhancing its frequency
connection with the strings. Using lightweight braces, the loss of energy could be kept amazingly small.
The result is a louder sounding guitar which never compromises on versatility.
Replacing the soundhole to the upper portion of the body creates a vibrating surface almost a third
larger than on a conventional guitar.
The strings are tuned to: E/F/G/A/B/C/D/E/A/D/G/B/E.
Standard configuration
Soundhole position on both sides of the fingerboard
Scale legth: 650 mm
Top: Swiss Spruce
Back and Sides: Indian rosewood
Neck: Mahogany
Fingerboard: Ebony
Lacquer: Frenc polish (Top), special DD-Lacquer (Body and Neck)
Neck widthness: Saddle 114 mm; 3th fret 121 mm; 5th fret 85 mm;12th Fret 90 mm
Distance between strings: Saddle E/e 104 mm; Bridge E/e 135 mm
Neck thickness: 1th Fret 22 mm; 9th Fret 24 mm
Neck shape: C
Tuning machine : Alessi, black rollers
Options
Scale lenghts: 630 mm, 655 mm, 660 mm
Lacquer: completely Frenc polish
Tuning machine: Slone, Rodgers
Audiosystem: Scherlter
Back and sides: Brazilian rosewood; maple bigleaf, quilted, flamed. European maple
Customized neck shape
Left-hander guitar
The 13-string Chiavi-Miolin Guitar
By Johanes Labusch
The preconception of what a classical guitar has to look like my spring from our desire to find the definitive, the classic look and feel of what we cherish. The familiar visual signals give us a certain
peace of mind, the reassuring feeling that something has found its final, perfect, and most
satisfying shape.
I had known Swiss luthier Ermanno Chiavi's guitars to be firmly rooted in that straightforward philosophy.
But constant improvement has been as much a mark of his development as a steady and firm belief in tradition.
I own a Chiavi guitar built in 1996, and it is proof of his solid no-nonsense style. At the same
time, it illustrates his keen curiosity and sense of experiment: The body is made from beautiful
bird's-eye maple, and the inlays around the soundhole represent a row of maple leaves.
Chiavi could happily have gone on building guitars that embodied this blend of solidity and style.
But four years ago he was contacted by Anders Miolin, guitar professor at the Zurich Conservatory.
Miolin views music mainly in terms of freedom of expression, not necessarily in conventional terms. Ermanno realized right away that Miolin was not easily satisfied with standards. He was playing
two guitars at the time: a 10-string by Corbellari and an 11-string alto guitar built by the Swedish
luthier Bolin. Lugging these two instruments around was necessary to accommodate the various
tunings and ranges required by his repertoire. Anders (which ironically means "different" in German)
was now looking for a way to play piano and lute literature on one guitar. He wanted the greatest
possible amount of freedom from a single instrument.
Professor Miolin inspired Ermanno to rethink many of his experiences. If music is an art form that
gains from versatility, he argued, why should the spectrum covered by six strings, or eight, or even
ten strings, be accepted as the final limit? Wouldn't that be like a painter denying the existence of
certain colors? If a piece was written for piano, was that really only because of that instrument's
tonal capacities? What if a guitar's range could be stretched to accommodate the composition?
Wasn't it possible that all the differences in sound and playing technique could bring something
exciting to the piece? And this way of seeing things - and wanting to hear things - made a lot of
sense to a luthier committed to the idea of marrying tradition and innovation.
Anders and Ermanno tried to define the spectrum their guitar would have to cover, and it became
apparent that five octaves would be ideal. A challenging goal, considering that a regular 6-string
guitar only stretches across three octaves plus a fifth. They found that thirteen strings were going to
be necessary. The lowest note would be E and the fingerboard would have to go five frets higher
than a conventional classical guitar's, thus including the note e´´´.
A headstock with thirteen tuners would cause balance problems if they just made a regular headstock
that much longer. Instead, Chiavi came up with a layered construction: Two platforms are placed on
top of each other, each with six tuners, and the thirteenth tuner is placed in the middle.
This headstock does not extend far over the length of a 6-string. Visually and functionally,
it makes immediate sense.
Thirteen strings create a tremendous pull which the instrument's top would have to withstand.
Ermanno started experimenting with a rectangular bracing pattern that has been used since the 1930s.
It ensures even distribution of forces and makes it possible to have a very thin top with particularly
even acoustic capabilities. The body, by the way, is not bigger than that of a regular classic guitar -
the wide neck represented the maximum of bulkiness the tow inventors were willing to live with.
Another crucial decision was not to place the soundhole where tradition has taught us it "belongs".
Chiavi moved its location to the upper bout, increasing the vibrating area of the top.
One tormenting worry was the question of weight. The huge fretboard would have to be stripped of
every unnecessary gram of wood. Only the first three frets would be needed for all thirteen strings.
Between the 4th and 12th fret, now only seven strings run over the fingerboard. Higher up, it
becomes continuously narrower.
Ermanno was not very happy with the fact that above the 12th fret, the player would have to do without
the help of his left thumb, which could not remain behind the neck and provide support. He decided
to use a feature he had seen in the work of some other guitar makers over the years: a slanted top,
which adds some distance between the fingerboard and the top at the neck-body connection and
leaves more room for the guitarist's left hand. It also improves the tonal character of a guitar. The
wider angle at which the strings are attached to the bridge creates a better transference of string
vibration to the wood. One could think of it as a small step toward the harp, where the strings meet
the resonance chamber at a high angle, as opposed to the conventional guitar, where the strings
are aligned with the top.
Ermanno Chiavi has now built four of these guitars. With each of them, he made new discoveries
and solidified his research. The moment one of the bass strings is first picked, one realizes that we
have left traditional guitar territory for sure. But even if only the standard six strings are played, this
instrument has an amazingly big sound. Ermanno explains this with the "reverb chamber" effect on
the additional strings. Interest from musicians has been very encouraging. After a short period of
getting used to the wide neck, this instrument becomes part of their range of expression. It lends
its voice to their imagination. After Anders Miolin's first public presentation of the 13-string guitar,
a happy Ermanno Chiavi told me: "It almost feels like giving somebody a fresh set of words for an
ancient language!"-------------------
![](http://www.chiaviguitars.com/images/stories/modelle/13saiten/CHIAVIGUITAR_13string_02.jpg)
![](http://www.chiaviguitars.com/images/stories/modelle/13saiten/CHIAVIGUITAR_13string_03.jpg)
![](http://www.chiaviguitars.com/images/stories/modelle/13saiten/CHIAVIGUITAR_13string_04.jpg)
![](http://www.chiaviguitars.com/images/stories/modelle/13saiten/CHIAVIGUITAR_13string_05.jpg)
![](http://www.miolin.com/images/stories/portraits/ANDERS-MIOLIN-02.jpg)
![](http://www.miolin.com/images/imagesLeft/anders-miolin-2.jpg)
Anders Miolin : J.S. Bach - Prelude BWV 998
This instrument is among the most recent developments created in my workshop.
The unusual position of the soundhole, close to the 12th fret region, supports a more effective transferrence of string energy.
The soundboard is slanted, creating additional room for the player's left hand at positions as
high up as the 24th fret!
This advantage is further enhanced by the careful shaping of the neck and fingerboard profile.
The guitar is equipped with an individual length compensation for each string, allowing for a
maximum tuning tolerance of only 2 cent.
This instrument features a wide dynamic spectrum, a clear and voluminous sound, excellent
balance across its entire range and a rich sonic coloration.
Based on the same construction principles as the 6-string model.
The 7th and the 8th strings are tuned to D and C to widen the bass spectrum, and can be played
over the entire fingerboard.
The smart design of this guitar's headstock allows for the additional string's integration without
having to add size or sacrifice visual symmetry.
In terms of basic construction, this guitar is similar to my 6 string model.
The headstock is not much longer or heavier than on a 6string guitar, thus maintaining the
instrument's balance. The additional 4 tuners for the bass strings are accomodated by the
innovative design, which assures ideal sting alignment at the headstock.
Even with 13 strings, this instrument's head is not much longer or heavier than on a regular
6-string guitar. This makes for exellent balance. 7 additional tuners are part of this design, still
the alignment of each string is achieved without creating strong angles, which would result in tuning
and resonance problems.
A custom made capodaster has been developped for this guitar, which enables the player to work
easily in various tunings. The fingerboard is used in its entire width only on the first three frets. This
made it possible to reduce the neck's width in the higher regions. Up until the 12th fret, only 7 of
the guitar's 13 strings run over the fingerboard. Above the 12th fret, it becomes continually narrower.
This allows for a dramatic weight reduction, which proved to be crucial to maintain overall balance.
The additional bass strings provide an entire octave below the known spectrum, the fingerboard
design offers as many as 24 frets. This leads to an overall spectrum of 5(!) octaves.
(A regular 6 string guitar offers only three octaves and one quint.)
The soundboard is slanted at an angle toward the fretboard. This creates better handling in the
region above the 12th fret, where the left hand's thumb can no longer be used to provide counter
pressure for the fingers. This angle also increases the transferrence of string vibration.
The guitar is built using an unusual bracing pattern. This new system offers unparalleled efficiency:
The sound shaping forces are provided evenly over the entire surface, granting the highest possible
strength combined with a very economic use of material, which is important to keep the overall weight
at a minimum. Using this bracing, the top can be built very thinly, thus enhancing its frequency
connection with the strings. Using lightweight braces, the loss of energy could be kept amazingly small.
The result is a louder sounding guitar which never compromises on versatility.
Replacing the soundhole to the upper portion of the body creates a vibrating surface almost a third
larger than on a conventional guitar.
The strings are tuned to: E/F/G/A/B/C/D/E/A/D/G/B/E.
Standard configuration
Soundhole position on both sides of the fingerboard
Scale legth: 650 mm
Top: Swiss Spruce
Back and Sides: Indian rosewood
Neck: Mahogany
Fingerboard: Ebony
Lacquer: Frenc polish (Top), special DD-Lacquer (Body and Neck)
Neck widthness: Saddle 114 mm; 3th fret 121 mm; 5th fret 85 mm;12th Fret 90 mm
Distance between strings: Saddle E/e 104 mm; Bridge E/e 135 mm
Neck thickness: 1th Fret 22 mm; 9th Fret 24 mm
Neck shape: C
Tuning machine : Alessi, black rollers
Options
Scale lenghts: 630 mm, 655 mm, 660 mm
Lacquer: completely Frenc polish
Tuning machine: Slone, Rodgers
Audiosystem: Scherlter
Back and sides: Brazilian rosewood; maple bigleaf, quilted, flamed. European maple
Customized neck shape
Left-hander guitar
The 13-string Chiavi-Miolin Guitar
By Johanes Labusch
The preconception of what a classical guitar has to look like my spring from our desire to find the definitive, the classic look and feel of what we cherish. The familiar visual signals give us a certain
peace of mind, the reassuring feeling that something has found its final, perfect, and most
satisfying shape.
I had known Swiss luthier Ermanno Chiavi's guitars to be firmly rooted in that straightforward philosophy.
But constant improvement has been as much a mark of his development as a steady and firm belief in tradition.
I own a Chiavi guitar built in 1996, and it is proof of his solid no-nonsense style. At the same
time, it illustrates his keen curiosity and sense of experiment: The body is made from beautiful
bird's-eye maple, and the inlays around the soundhole represent a row of maple leaves.
Chiavi could happily have gone on building guitars that embodied this blend of solidity and style.
But four years ago he was contacted by Anders Miolin, guitar professor at the Zurich Conservatory.
Miolin views music mainly in terms of freedom of expression, not necessarily in conventional terms. Ermanno realized right away that Miolin was not easily satisfied with standards. He was playing
two guitars at the time: a 10-string by Corbellari and an 11-string alto guitar built by the Swedish
luthier Bolin. Lugging these two instruments around was necessary to accommodate the various
tunings and ranges required by his repertoire. Anders (which ironically means "different" in German)
was now looking for a way to play piano and lute literature on one guitar. He wanted the greatest
possible amount of freedom from a single instrument.
Professor Miolin inspired Ermanno to rethink many of his experiences. If music is an art form that
gains from versatility, he argued, why should the spectrum covered by six strings, or eight, or even
ten strings, be accepted as the final limit? Wouldn't that be like a painter denying the existence of
certain colors? If a piece was written for piano, was that really only because of that instrument's
tonal capacities? What if a guitar's range could be stretched to accommodate the composition?
Wasn't it possible that all the differences in sound and playing technique could bring something
exciting to the piece? And this way of seeing things - and wanting to hear things - made a lot of
sense to a luthier committed to the idea of marrying tradition and innovation.
Anders and Ermanno tried to define the spectrum their guitar would have to cover, and it became
apparent that five octaves would be ideal. A challenging goal, considering that a regular 6-string
guitar only stretches across three octaves plus a fifth. They found that thirteen strings were going to
be necessary. The lowest note would be E and the fingerboard would have to go five frets higher
than a conventional classical guitar's, thus including the note e´´´.
A headstock with thirteen tuners would cause balance problems if they just made a regular headstock
that much longer. Instead, Chiavi came up with a layered construction: Two platforms are placed on
top of each other, each with six tuners, and the thirteenth tuner is placed in the middle.
This headstock does not extend far over the length of a 6-string. Visually and functionally,
it makes immediate sense.
Thirteen strings create a tremendous pull which the instrument's top would have to withstand.
Ermanno started experimenting with a rectangular bracing pattern that has been used since the 1930s.
It ensures even distribution of forces and makes it possible to have a very thin top with particularly
even acoustic capabilities. The body, by the way, is not bigger than that of a regular classic guitar -
the wide neck represented the maximum of bulkiness the tow inventors were willing to live with.
Another crucial decision was not to place the soundhole where tradition has taught us it "belongs".
Chiavi moved its location to the upper bout, increasing the vibrating area of the top.
One tormenting worry was the question of weight. The huge fretboard would have to be stripped of
every unnecessary gram of wood. Only the first three frets would be needed for all thirteen strings.
Between the 4th and 12th fret, now only seven strings run over the fingerboard. Higher up, it
becomes continuously narrower.
Ermanno was not very happy with the fact that above the 12th fret, the player would have to do without
the help of his left thumb, which could not remain behind the neck and provide support. He decided
to use a feature he had seen in the work of some other guitar makers over the years: a slanted top,
which adds some distance between the fingerboard and the top at the neck-body connection and
leaves more room for the guitarist's left hand. It also improves the tonal character of a guitar. The
wider angle at which the strings are attached to the bridge creates a better transference of string
vibration to the wood. One could think of it as a small step toward the harp, where the strings meet
the resonance chamber at a high angle, as opposed to the conventional guitar, where the strings
are aligned with the top.
Ermanno Chiavi has now built four of these guitars. With each of them, he made new discoveries
and solidified his research. The moment one of the bass strings is first picked, one realizes that we
have left traditional guitar territory for sure. But even if only the standard six strings are played, this
instrument has an amazingly big sound. Ermanno explains this with the "reverb chamber" effect on
the additional strings. Interest from musicians has been very encouraging. After a short period of
getting used to the wide neck, this instrument becomes part of their range of expression. It lends
its voice to their imagination. After Anders Miolin's first public presentation of the 13-string guitar,
a happy Ermanno Chiavi told me: "It almost feels like giving somebody a fresh set of words for an
ancient language!"-------------------
Comment '5'
-
좋은 음악 감사합니다^^
-
Prelude BWV 998가 이렇게 좋은 곡인줄이야..확실히 바흐곡은 다현기타로 쳐야 제맛일듯...
P.S.이 게시물은 다현악기란으로 옮기면 좋을 듯싶은데용..
-
으윽, 13현이었군요. 눈이 아리아리 12현으로 잘못 알았네요. 엄청난 배음효과와 질감이
역시 특수기타 답습니다. 왼손과 오른손 통제도 어려운데 다현 악기는 적절한 지음과 소음까지
동시에 해야 하니 어렵고도 어려운 수련입니다.
미올린은 절대로 성급하지 않고 차분하면서도 깊은 울림을 들려주는데, 특히 드뷔시의
<베르가마스크> 모음곡이 일품이더군요. 암스테리담 기타 트리오의 현한한 연주보다 어느 피아노 연주보다
그윽하고 품격있는 미올린의 대가적인 연주에 이번 주말을 잔잔하게 지내볼 까 합니다.
-
좋은 자료 잘 보았나이다.
허어, 연구할 과제가 점점 복잡해지네요. -
이분 연주는 몇 개 들을수록 맛이 있네요. 자기의 색깔이 꽤나 분명하지만 그게 자연스럽고 어울려요. 악기도 처음엔 너무 류트처럼 풀풀거리지 않나 생각이 들었지만 자꾸 들으니까 트레블이 아주 매력적인 걸요.. 게다가 이분 동영상은 화질 음질이 다 좋아요!
번호 | 제목 | 글쓴이 | 날짜 | 조회 수 |
---|---|---|---|---|
1434 | 자꾸 남의 글에 re해서 죄송합니다..... | cc | 2000.06.16 | 4517 |
1433 |
입이 큰 기타
15 ![]() |
기타에 미친 사람 | 2004.03.05 | 6485 |
1432 |
일본에서 고토해드머신 가격 더 쌀까요?ㅎㅎ
16 ![]() |
j | 2006.07.13 | 6715 |
1431 | 일본에 유명한 명기 클래식 기타 악기샾좀 알려주세요 7 | 궁금이 | 2010.08.02 | 15778 |
1430 | 일반적인 클래식 기타와 플라멩코 기타의 차이점이 무엇인가여? 7 | 바실리스크 | 2001.09.07 | 4961 |
1429 |
일렉트릭 클래식 기타를 구입하려고 합니다^^
![]() |
기타매니아 | 2009.11.15 | 9005 |
1428 | 일렉트릭 베이스 기타에 쓰이는 나무랑.. 몇가지 이론들이여. 읽어보시면 잼있어요^^ 1 | 기타랑 | 2001.10.25 | 7639 |
1427 | 일단 이 말이 타당성이 있나요? | 아랑 | 2001.11.28 | 5003 |
1426 | 일년간 쉬는 원목기타라..... 1 | 수 | 2001.05.24 | 4218 |
1425 | 인조손톱하면...네일아트에서 사용하는 플라스틱손톱 3 | 명노창 | 2001.12.21 | 8177 |
1424 |
인도의 악기들 - 조오지 헤리슨과 시타르
5 ![]() |
항해사 | 2007.07.18 | 6414 |
1423 | 인도에선 상아구하기 힘들당. 3 | 수 | 2001.08.13 | 4648 |
1422 | 이정원님의 잘못이 아닙니다... | 형서기 | 2000.10.02 | 4850 |
1421 | 이작펄먼의 바이올린. | 수 | 2001.02.28 | 4179 |
1420 | 이완 탄질이 쓰던 뷔히만... | 형서기 | 2001.02.02 | 4229 |
1419 |
이병우의 기타 컬렉션..
![]() |
ganesha | 2001.03.22 | 8268 |
1418 |
이병우씨가 아끼는 기타라던데...
9 ![]() |
木香 | 2002.05.16 | 7793 |
1417 |
이병우씨 듀얼기타!!ㅋㅋ
2 ![]() |
은찬아빠 | 2012.02.07 | 16630 |
1416 |
이번주 월욜날 온 제 새 기타 마르비입니다 ㅎㅎ
16 ![]() |
Limpman | 2005.12.08 | 7722 |
1415 | 이마이딜러가 그만뒀다고 그러네요.... | 수 | 2000.12.11 | 4063 |
1414 | 이마이.. 관둔게 아니래요.. | 오모씨 | 2000.12.11 | 4057 |
1413 | 이런이런... | 악보네방장 | 2000.10.10 | 4155 |
1412 |
이런나무로 기타를 만들면...
5 ![]() |
woodmania | 2003.05.13 | 7570 |
1411 | 이런....................아항.. | 지영이 | 2000.10.13 | 4106 |
1410 | 이런.................... | 이재화 | 2000.10.13 | 4093 |
1409 | 이런 방이 있다는걸 이제야 알았습니다. | 이재화 | 2000.10.01 | 4887 |
1408 | 이런 기타 있었으면 좋겠어요. 2 | 기타랑 | 2001.10.25 | 4732 |
1407 |
이런 기타 스텐드...
4 ![]() |
木香 | 2001.07.21 | 5481 |
1406 | 이런 건 어떨까요? (베이스 리플렉스 포트) | 아랑 | 2003.05.21 | 5678 |
1405 | 이런 | 이재화 | 2000.10.13 | 4081 |
1404 | 이기타에 대해 아시는분 있나요? 4 | 준오 | 2018.11.28 | 6083 |
1403 |
이기타 아무래도 부쉐같죠?(1)
1 ![]() |
궁금해서요 | 2003.07.24 | 5461 |
1402 | 이그나시오 로자스가 합판기타를?? 1 | 으랏차차 | 2001.06.01 | 4334 |
1401 | 이그나시오 로자스가 어리 갔나 했더니... | 매냐 | 2001.08.29 | 4100 |
1400 |
이게 바로..중국제 스몰맨 카피 기타..!
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으랏차차 | 2001.02.21 | 5563 |
1399 |
이거이 뭐하는데 쓰는 물건인공???
10 ![]() |
쏠레아 | 2006.12.17 | 7824 |
1398 | 이 따스한 가을 햇살 1 | 작업초보 | 2002.10.10 | 5258 |
1397 | 음질의 이중성. 1 | 날카론시각. | 2001.08.27 | 4090 |
1396 | 음정에 관해 | 개풀 | 2000.09.13 | 4924 |
1395 | 음의 분리도와 원달성 8 | 쏠레아 | 2008.09.08 | 8226 |
1394 |
음반 표지 소개.
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눈물반짝 | 2001.04.30 | 5053 |
1393 | 음량의 이중성. | 개풀 | 2000.08.18 | 4442 |
1392 | 음량의 이중성. | sophia | 2000.08.18 | 5185 |
1391 | 윽! 이것을 어찌 짜집기 할꼬? | TORRES | 2000.09.02 | 4544 |
1390 | 으하하하 기타 새로 샀는데요 정말 좋아미치겠어요 2 | 송호연 | 2004.07.12 | 6293 |
1389 | 으미~ 기타는 어케 만드는쥐요? | 김현영 | 2000.10.29 | 4912 |
1388 | 으라차차님 기타는 더 좋아질거예요. 2 | 수 | 2001.05.19 | 4253 |
1387 | 으....이번 여름에 어딜 가야 되는고얌... | 형서기 | 2001.02.23 | 4584 |
1386 | 유명악기에 대한 평이 엇갈리는건... 1 | 수 | 2001.04.09 | 4193 |
1385 | 위의 글들을 읽으니 저도 기타를 만들어보고 싶네요... | 김웅찬 | 2000.11.01 | 5016 |
1384 | 원하는 줄만 골라서 눌러주는 Capo 소개합니다. 2 | 사꼬™ | 2008.09.30 | 7086 |
1383 | 원목구성과 소리의 관계에 대한 가르침 원합니다 7 | superman | 2007.09.17 | 6245 |
1382 | 웅수엉아...과연 우리나라에서 기타를 처음제작하신분은 누구일까요? | 명노창 | 2000.12.25 | 5869 |
1381 | 웅수엉아 봐주십시요 | 이영남 | 2001.01.27 | 4165 |
1380 |
울프톤 이해를 돕기 위한 그림입니다 ^^
64 ![]() |
EchoOff | 2009.05.12 | 13933 |
1379 | 울림통? 공명통? 어느 것이 맞습니까? 24 | 쏠레아 | 2008.09.07 | 7926 |
1378 | 울림통 이야기. 2 | 쏠레아 | 2008.08.21 | 9109 |
1377 |
울림구멍...(포트)...
6 ![]() |
나래지기 | 2003.12.08 | 6324 |
1376 |
울동네서 발견한 기타에이드
22 ![]() |
수 | 2006.12.06 | 6984 |
1375 | 우와...좋은아이디어 생각났어요.... 16 | 수 | 2006.03.04 | 5898 |
1374 | 우리나라 아열대기후로 바뀐거 맞나봐여. 10 | 콩쥐 | 2007.11.02 | 6433 |
1373 | 우리나라 나무사정 | 스기 | 2001.02.01 | 4777 |
1372 | 우리나라 나무로 기타제작 시도해보신분.. 13 | 강나루 | 2006.05.05 | 9255 |
1371 |
우레탄칠 질문드릴께요!
4 ![]() |
김영규 | 2008.01.08 | 7047 |
1370 | 요즘은 장마철이라 습도가 높져... 1 | 수 | 2001.07.02 | 4083 |
1369 | 요즘 중고기타가격이.... 3 | 매냐 | 2003.07.19 | 6051 |
1368 | 왼손편한기타 6 | 두식이네 | 2009.06.01 | 9230 |
1367 | 왼손가락 중지가 문제라면... | 수 | 2001.01.27 | 4272 |
1366 | 왼손가락 장애 입니다 | 이영남 | 2001.01.27 | 4359 |
1365 | 외국기타의 주문방법좀 가르쳐 주셔요, | 간절한 | 2000.11.11 | 4114 |
1364 |
왜?
49 ![]() |
쏠레아 | 2010.03.07 | 13090 |
1363 | 왜 일본에는 그토록 기타 인구가 많나요? | 스기 | 2001.01.28 | 4488 |
1362 | 왜 로즈우드는 그렇게 기름기가 많은가? 1 | 수 | 2001.07.19 | 5431 |
1361 | 왜 기타가 깨질까 | 방가방가 | 2001.07.02 | 4456 |
1360 | 왜 4번줄만 끊어지는가? 8 | 돌빈대 | 2012.06.15 | 19344 |
1359 | 와그너와의 대담. | 수 | 2017.04.20 | 5069 |
1358 | 옻나무에선 옻칠이... | 수 | 2001.02.18 | 4396 |
1357 | 오홍.... | 형서기 | 2000.07.10 | 5634 |
1356 | 오호? | 형서기 | 2000.09.30 | 4608 |
1355 | 오호...갔다가 왔군... | 형서기 | 2000.08.03 | 4942 |
1354 | 오일바니쉬... 4 | 다울랜드.. | 2012.04.25 | 15391 |
1353 | 오옷...드디어... | 형서기 | 2001.02.19 | 4194 |
1352 | 오아시스 가습기와 개구리알~ 12 | JS | 2008.07.06 | 16116 |
1351 |
오른손연습용 기타
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수 | 2024.02.21 | 890 |
1350 | 오래된 스푸르스,3000년 | 수 | 2020.10.04 | 4310 |
1349 |
오래된 기타 구경하세요~
11 ![]() |
수육 | 2007.12.16 | 9609 |
1348 |
오래된 기타 새로 칠하기
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수 | 2020.07.09 | 4051 |
1347 | 오늘 쳐본 60년도 프리드리히 2 | hesed | 2003.06.26 | 5097 |
1346 | 예쁜소리는 예쁜손톱에서 나온다(손톱다듬기 강의) 2 | 박카노 | 2020.08.04 | 4562 |
1345 | 예민한 기타? 멍청한 기타? 7 | 뽀짱 | 2001.12.08 | 5924 |
1344 | 연주회합니다~ 3 | 정호중 | 2001.04.14 | 4218 |
1343 | 연주회 포스터할만한 사진이나 그림 없을까여? 1 | 은영이 | 2001.09.21 | 5490 |
1342 | 연주자의 기타. 2 | 콩쥐 | 2005.11.18 | 5614 |
1341 |
연주자의 기타
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수 | 2023.12.28 | 1609 |
1340 |
연주자의 악기
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수 | 2024.05.24 | 525 |
1339 |
연주자를 쏙 빼닮는 악기.
19 ![]() |
콩쥐 | 2006.02.28 | 9065 |
1338 | 연주시의 기타 지지도구(Guitar Supporting System) | 신정하 | 2002.02.21 | 5700 |
1337 | 연이은질문]Paul Fischer에 대해... | 형서기 | 2000.10.21 | 4062 |
1336 | 역시 내가 원하는 악기도... | 泳瑞父 | 2000.08.25 | 4345 |
1335 | 여태본 굴비중 가장 깨끗한 굴비당. | 관식 | 2000.10.11 | 5094 |
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