2011.02.18 01:59
Anders Miolin이 연주하는 The 13-string Chiavi-Miolin Guitar
(*.176.119.158) 조회 수 14142 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!
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1434 | 쿠쿠렐리8현 | gaspar | 2000.12.27 | 4189 |
1433 | ☞:홀에 대해서 질문... | cc | 2000.06.14 | 4193 |
1432 | 시적왈츠 악보구해요~ | 은표 | 2001.02.24 | 4193 |
1431 | 까를로스 보넬이 기타를 내놓았더군요.... | 수 | 2000.11.15 | 4197 |
1430 | ☞ ☞ 위의 글에 덪붙여서..... | 명노창 | 2001.01.29 | 4198 |
1429 | ☞ 라미레즈 갖고시퍼라 | csr | 2001.03.07 | 4200 |
1428 | 차로 실고간데... | 곰팽이 | 2000.11.03 | 4200 |
1427 | 센빠이 혹시 영서부 | 곰팽이 | 2000.11.11 | 4200 |
1426 | ☞:안녕하세요..명노창입니다. | 김남호 | 2000.08.16 | 4203 |
1425 | 오래된 스푸르스,3000년 | 수 | 2020.10.04 | 4204 |
1424 | 기타랑 첼로랑... | 수 | 2000.10.11 | 4205 |
1423 | 셸락칠은 약해요, 원래. 4 | 수 | 2001.05.18 | 4208 |
1422 | ☞ 특히 일본에 관한 저의 개인적인 생각.... | 명노창 | 2001.01.29 | 4208 |
1421 | ☞ 오호호호~ 2 | 고정욱 | 2001.06.28 | 4211 |
1420 | 쿠쿠렐리 기타 | gaspar | 2000.12.27 | 4213 |
1419 | 아 | 수 | 2000.10.06 | 4216 |
1418 | ☞ ☞ ☞기타 사느라 장가 포기를 포기.... | 간절한 | 2001.04.01 | 4217 |
1417 | 내손으로 만듭시다.어떡해? | 영서부 | 2000.07.04 | 4222 |
1416 | [re] 1920년 싼또스 에르난데스 | 혁 | 2004.12.22 | 4223 |
1415 | 동문서답. 1 | 병서기님 팬 | 2001.08.31 | 4223 |
1414 | ☞ ☞ 역시 연주가는 악기만드는거 50%는 따돈거야.. | 명노창 | 2000.12.27 | 4224 |
1413 | 나의 기타 | 수집걸 | 2001.04.06 | 4225 |
1412 | 수님아 질문인데요.... 앞판을.. "하카란다"란 나무로.. | 느끼오빠 | 2001.07.19 | 4230 |
1411 | 기타제작콩쿨은 아무도 .. | 방문객 | 2001.04.01 | 4230 |
1410 | 니콜라스 야노에 대해서 알구 싶어여. | 형서기 | 2001.02.13 | 4230 |
1409 | Boaz- Steel Guitar | gaspar | 2000.12.28 | 4230 |
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1406 | ☞ ☞ ☞ 기타 제작자 이야기(3) | 안진수 | 2000.11.19 | 4237 |
1405 | 기타맹글고 싶어하는분...명단. | whisky | 2000.09.02 | 4237 |
1404 | 이그나시오 로자스가 합판기타를?? 1 | 으랏차차 | 2001.06.01 | 4238 |
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1402 | ☞:기타줄 받으셨는지 궁금하군요... | 명노창 | 2000.08.16 | 4247 |
1401 | 겨울철에 습도유지하는 방법.... | 명노창 | 2000.12.12 | 4247 |
1400 | 간단의견만으로는 좀 미흡해서... | 형서기 | 2001.02.02 | 4253 |
1399 | ☞:weissgerber가 맞아요.. | 말괄량이 | 2000.07.04 | 4256 |
1398 | 로제트사진 | 일랴나 | 2000.12.28 | 4256 |
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1389 | ☞:확실히... | 개풀 | 2000.09.16 | 4273 |
1388 | 텐션이 강하다면 흥미가 매우 생기는데... | 형서기 | 2000.10.08 | 4277 |
1387 | 고노가 알리앙스랑 결혼해부렸구만요.... | 수 | 2000.10.05 | 4278 |
1386 | Sitar. 2 | ganesha | 2001.09.04 | 4279 |
1385 | 베르나베 좋져.... | 형서기 | 2000.09.03 | 4282 |
1384 | ☞ 이런 그림은 어떨지^^ | guitar4u | 2001.08.14 | 4283 |
1383 | 옻나무에선 옻칠이... | 수 | 2001.02.18 | 4285 |
1382 | ☞:게놈기타. | 화음 | 2000.07.21 | 4289 |
1381 | ☞ 기타 추천 | 수 | 2001.03.28 | 4290 |
1380 | ☞ ☞ ☞ ☞ ☞ ☞ 일주일후에 연락드리지요... | 명노창 | 2001.02.05 | 4293 |
1379 | 제프리 엘리엇-로제트: 이정도면 되나요 일랴냐님 | gaspar | 2000.12.29 | 4293 |
1378 | 아래는 잘못..10현기타 아랫부분 | gaspar | 2000.12.27 | 4297 |
1377 | [re] 전에 한번 본적 있어요.. | 으랏차차 | 2002.07.29 | 4302 |
1376 | [re] 철공소사장님이 만든기타 | 여름은가고 | 2005.06.14 | 4303 |
1375 | 마린몬테로에 관한 자세한 정보 부탁드립니다 | 파뿌리 | 2001.02.14 | 4309 |
1374 | 몇번본 베르나베. | 수 | 2001.03.06 | 4313 |
1373 | 탄현에너지의 분산에 관하여... | 명노창 | 2000.06.12 | 4315 |
1372 | 베이스 기타좀 알려주세요. | 이재화 | 2000.10.05 | 4315 |
1371 | Bernhard Kresse | 수 | 2000.10.23 | 4316 |
1370 | Sitar 3 1 | ganesha | 2001.09.04 | 4318 |
1369 | 정말 놀랬습니다 | 기타지존 | 2001.04.03 | 4319 |
1368 | ☞ ☞ ☞ ☞ 기타 제작자 이야기(3) | 기타마니아 | 2000.11.19 | 4319 |
1367 | 음량의 이중성. | 개풀 | 2000.08.18 | 4322 |
1366 | 베트남산 비단뱀 기타 2 | ganesha | 2001.09.04 | 4322 |
1365 | ☞ ☞ 댐핏대용으로 쓸 수 있는것,,, | 명노창 | 2001.03.26 | 4326 |
1364 | ☞ 기타 제작자 이야기(3) | 안진수 | 2000.11.18 | 4326 |
1363 | 기타줄과 관련된 질문이 있습니다. 1 | persecutaa | 2020.03.08 | 4328 |
1362 | 라왕으로 기타를 만든다면.... 2 | 간절한 | 2001.07.18 | 4329 |
1361 | 두분 의견 감사드립니다. | 길벗맨 | 2001.04.06 | 4329 |
1360 | 얼마전 100호기타를 구입했는데... 18 | 렐리우스 | 2001.07.09 | 4333 |
1359 | 아~ 기타줄... 4 | 김진성 | 2001.06.13 | 4334 |
1358 | 앞판을 교체하는 작업 | 수 | 2020.04.17 | 4334 |
1357 | LMI 카탈로그 필요하신 분 5 | 빵끈 | 2002.09.26 | 4336 |
1356 | ☞:대박찬스....기회는 자주없수다. | 개풀 | 2000.09.16 | 4338 |
1355 | 명노창님께 질문 | 김남호 | 2000.07.30 | 4341 |
1354 | 수님 홈피에... 2 | 일자무식 | 2001.05.16 | 4344 |
1353 | 쇠줄기타의 난문제. | cc | 2000.08.29 | 4351 |
1352 | 국산기타현.... 3 | 수 | 2001.06.19 | 4352 |
1351 | ☞:웅수엉아............. | 명노창 | 2000.10.04 | 4353 |
1350 | 광주 사시는 분이셨군요. | 김남호 | 2000.08.12 | 4362 |
1349 | ☞흐어~ 제가 파는게 아니오라 그냥 퍼온광고임다. (내용무) | 셰인 | 2001.05.11 | 4362 |
1348 | 왜 기타가 깨질까 | 방가방가 | 2001.07.02 | 4364 |
1347 | ☞ ☞ ☞ 기타 제작자 이야기(3) | 기타마니아 | 2000.11.19 | 4365 |
1346 | ☞ 케이스에 대한 질문. 1 | 기타랑 | 2001.07.14 | 4366 |
1345 | 별난 기타아에 관한 몇가지 의문? | 泳瑞父 | 2000.06.24 | 4367 |
1344 | ☞개풀님은 나머지 98%를 어따 뒀어? | 개풀 | 2000.08.19 | 4368 |
1343 | ☞ 이완 탄질이 쓰던 뷔히만... | 가난한유학생 | 2001.02.04 | 4370 |
1342 | ☞ 겨울철에 습도유지하는 방법.... | 명노창 | 2000.12.19 | 4370 |
1341 | We can do it! C~HA~HA! | 김 재한 | 2000.09.16 | 4370 |
1340 | 저도 한마디............ | 이재화 | 2000.11.02 | 4376 |
1339 | Dieter Hopf 8 | 박카스 | 2001.05.09 | 4378 |
1338 | 쿠쿠렐리 11현 | gaspar | 2000.12.27 | 4383 |
1337 | 왜 일본에는 그토록 기타 인구가 많나요? | 스기 | 2001.01.28 | 4386 |
1336 | ☞ 사진 몇개 | 기타마니아 | 2000.11.19 | 4387 |
1335 | 자꾸 남의 글에 re해서 죄송합니다..... | cc | 2000.06.16 | 4393 |
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