2011.02.18 01:59
Anders Miolin이 연주하는 The 13-string Chiavi-Miolin Guitar
(*.176.119.158) 조회 수 14119 댓글 5
http://www.chiaviguitars.comThe 13-string Chiavi-Miolin Guitar
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!"-------------------
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!
-
Domingo Esteso
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[re] 넥과 옆판
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☞ ☞ 기타의 앞판이 이러면 어떨까..??? 수님이 답좀
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소리로 앞판 건조 시킨다면서요?
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사이몬 마티
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줄의 장력이 세게 느껴져요!!
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Free Adjustable Bridge Saddle(FABS)
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뭰히 길들이기...
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제 기타 사진입니다.
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라이징보드 사용 소감을 듣고싶습니다..
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스프러스 아이힝거에 대해...
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그라나다 기타제작
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축구는끝나고 심심해서
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.
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하하 ...내친구...
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기타 제작에서 가장 어려운 일은 무엇인가요?
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줄을 갈다 생각난건데..
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전판 사포칠 장면
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호세 루비오
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기타에이드에 관한 안내글.
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나만의 50만원대 수제기타 벤치마크
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어떤걸 사야하나?
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평균율은 원래 고개 절래절래 하데요?
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[re] 미겔 로드리게스 사진입니다
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Thomas Beltran
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강화도 수님 공방 기타제작.
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[re] 바게뜨빵과 세느강...
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조나단과 스프러스 아이힝거....
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기타프렛에 관해 여쭙겠사옵니다.
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현장길이가 모예요?
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키틴제 도료에 대해...
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이런 기타 스텐드...
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☞: 얼마전에 고노를 사랑한다고 했다가 님으로 부터 뒤지게 욕먹은....
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기타 관리
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마르비 제작클래스 이야기 - 프롤로그
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☞ 위에 기타 뒷사진.
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연주회 포스터할만한 사진이나 그림 없을까여?
Date2001.09.21 By은영이 Views5335 -
수님쇠줄기타도만들어주실수있나요
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현이 어디 묶여있나요?
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논쟁에 끼어들고 인사도 드리며...
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슈퍼칩만들때 노하우좀 갈쳐주세요~~
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이기타 아무래도 부쉐같죠?(1)
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bernabe.......kraft가 연주하는
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현장길이가 모냐면여....
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휘었다면 수리는 가능한지? 수리가 어려운가요?
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[re] 바로크와 스프러스!!
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모양은 이쁜데 소리도 이쁠지 궁금하네요.
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[re] BRAHMAN #6
Date2003.11.24 By차차 Views5314 -
도밍고 에스테소1971년작
Date2005.12.04 By용접맨 Views5311 -
[re] 앞판
Date2004.10.08 By수 Views5310 -
Sitar, varanasi.
Date2002.06.09 Byganesha Views5309 -
Daniel Friedrich라는 제작가에 대해 알려주세용
Date2000.09.17 Byilliana Views5308 -
[re] 머리
Date2007.09.20 By콩쥐 Views5308 -
when i dream 악보있으신분 메일로 띄어주세용~
Date2000.10.09 Bykangyong Views5306 -
기타가...목청이 하루만에???
Date2002.01.27 By간절한 Views5305 -
브릿지 하현주에서 나는 잡음에대해..
Date2006.12.13 ByJoDaC Views5305 -
국산 악기에 관하여.
Date2001.05.06 By형서기 Views5304 -
현은 지판에 안 닿아도 누군가는 지판에 닿아요.
Date2001.07.12 By수 Views5300 -
가장 음량이 큰 기타는 ??
Date2000.08.18 By지우압바 Views5300 -
감사합니다=^^=명노창님
Date2000.08.05 By김남호 Views5296 -
엄씨 가문의 기타에 관한 냉철한 평을 부탁드립니다.
Date2001.05.02 By남경민 Views5295 -
[re] 그러나 스프러스를 사랑할수 밖에 없는 이유..
Date2002.03.27 By으랏차차 Views5284 -
야쉘락
Date2005.12.24 Bygdream7 Views5284 -
[re] 정면님의 기타를 함께 생각하며
Date2006.09.19 By콩쥐 Views5284 -
행복한? 기타
Date2001.06.12 By새내기 Views5282 -
Koh Jeongseock No.25
Date2019.11.20 By고정석 Views5281 -
6번현보다 5번현 소리가 특히 큰데....~
Date2002.03.27 By으랏차차 Views5281 -
☞:안녕하세요..명노창입니다.80년대 당시 고노기타가격...
Date2000.08.05 By명노창 Views5280 -
제 뜻은 옆판과 뒷판은 비중적으로 앞판과 정다른 가장 단단한 나무를 사용해야...
Date2000.08.29 By명노창 Views5278 -
[re] [요청] 내 악기 소개 게시판 만들어 주세요
Date2007.10.11 By초보자 Views5277 -
스페인 마드리드에세 제작된 기타이름....
Date2002.04.25 By수 Views5276 -
왜 로즈우드는 그렇게 기름기가 많은가?
Date2001.07.19 By수 Views5273 -
☞ 가야금, 거문고는 어떤줄을 쓰나요?
Date2000.10.28 By이재화 Views5272 -
2005년 5/3~5. 일본동경근처의 기타문화관에서의 기타전시회.
Date2005.02.17 By수 Views5271 -
☞ 써봤습니당. 엄씨가문의 기타를!!!보았습니당. 엄씨가문의 기타를!!!
Date2001.05.03 By간절한 Views5265 -
클래식과 통키타의 헤드머쉰...
Date2001.02.03 By으랏차차 Views5264 -
[re] 마르비와 함께한 기타 제작기.
Date2006.09.20 By김중훈 Views5261 -
[re] 마르비와 함께한 기타 제작기.
Date2006.09.20 By김중훈 Views5259 -
기타 제작가님들만 보셔요~
Date2005.01.01 By혁 Views5258 -
[re] 리 지에 .. 기타 말입니다.. 음..
Date2002.10.03 By호정j Views5257 -
[re] 1920년 싼또스 에르난데스
Date2004.12.22 By혁 Views5257 -
[re] 바로쎌로나의 부엌...보께리아
Date2007.07.27 By콩쥐 Views5256 -
[re] 코흐연주회 다녀왔어요.
Date2007.10.01 By콩쥐 Views5255 -
[re] 저의 기타 사진입니다. Brahmam 2003년 (넘버10, 624mm)
Date2004.01.10 By고정석 Views5254 -
##이렇게 한 번 해보세요^^...
Date2000.12.16 By박성운 Views5252 -
전판쉘락칠 하기.
Date2005.12.15 Bygdream7 Views5252 -
할 줄 아는 것이 정말 없고낭....쩝....
Date2001.05.08 By간절한 Views5251 -
스몰멘을 사려면..
Date2003.07.09 By익제 Views5250 -
[re] 아직 창고가 깨끗할때 콩쥐
Date2006.09.19 By콩쥐 Views5249 -
쉘락 휘니시... french polish of shellac
Date2017.08.02 By수 Views5248 -
기타의 앞판이 이러면 어떨까..???
Date2000.11.20 By변소반장 Views5247 -
[re] 앰프 꽂을 수 있는 클래식 기타..
Date2003.06.26 By지나가는띨빵이 Views5247 -
첼로에서 안쇠소리나는 음반 혹 들어보셧어요?
Date2000.10.10 By지영이 Views5245 -
[re] Bouchet와 Weissgerber
Date2008.07.11 By최동수 Views5245 -
[기사] 북한의 기타.
Date2001.10.03 By눈물반짝 Views5243 -
폴 피셔.
Date2000.10.22 By수 Views5242 -
베르나베 기타가 어쩌고 저쩌고... 흠냐뤼.. 무식해서..
Date2000.12.05 By변소반장 Views5242
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