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 |
---|---|---|---|---|
1726 | [ 로메로가의 기타] | 말괄량이 | 2000.05.30 | 4943 |
1725 | 조나단 힌베스.... 1 | 고형석 | 2000.05.30 | 6085 |
1724 | Jonathan Hinves 둘.... | 고형석 | 2000.05.31 | 6348 |
1723 | 비브라토 기타. | 귀똘이 | 2000.06.07 | 4450 |
1722 | 기타의 재료는 꼭 나무이어야만 하는가? | CC | 2000.06.08 | 4571 |
1721 | 야광기타. | 귀똘이 | 2000.06.09 | 4202 |
1720 | acoustic port design.......ruck invention. | 말괄량이 | 2000.06.10 | 4761 |
1719 | 스프러스 아이힝거에 대해... | 고형석 | 2000.06.11 | 5169 |
1718 | ☞:구멍많은 기타들.... | CC | 2000.06.11 | 4934 |
1717 | 기타의 순결? | 말괄량이 | 2000.06.12 | 4551 |
1716 | ☞:스프러스 아이힝거에 대해... | 고형석 | 2000.06.12 | 4997 |
1715 | 홀에 대해서 질문... | 몽자삼촌 | 2000.06.12 | 5264 |
1714 | ☞:꼬벨라리가???? | 고형석 | 2000.06.12 | 5223 |
1713 | 탄현에너지의 분산에 관하여... | 명노창 | 2000.06.12 | 4042 |
1712 | ☞:홀에 대해서 질문... | 몽자삼촌 | 2000.06.12 | 3887 |
1711 | ☞:탄현에너지의 분산에 관하여... | hiena | 2000.06.12 | 3904 |
1710 | 스페인식 vs 독일식. | 풀만먹고. | 2000.06.13 | 5828 |
1709 | 그런데 고노도 독일식기탄가요.... | 명노창 | 2000.06.13 | 4242 |
1708 | 그런데 고노도 독일식기탄가요.... | 풀만먹고. | 2000.06.13 | 4305 |
1707 | 독일식 스페인식. | 풀만먹고. | 2000.06.13 | 4313 |
1706 | 꼬벨라리 자살한지 한참됬는데..... | 명노창 | 2000.06.14 | 5315 |
1705 | ☞:홀에 대해서 질문... | cc | 2000.06.14 | 3987 |
1704 | ☞:탄현에너지의 분산에 관하여... | cc | 2000.06.14 | 4864 |
1703 | ☞:홀에 대해서 질문... | cc | 2000.06.14 | 4277 |
1702 | f홀 기타..... | 말괄량이 | 2000.06.15 | 5793 |
1701 | ☞:홀에 대해서 질문... | bronto | 2000.06.15 | 3787 |
1700 | 자꾸 남의 글에 re해서 죄송합니다..... | cc | 2000.06.16 | 4100 |
1699 | 소리로 앞판 건조 시킨다면서요? | 말괄량이 | 2000.06.17 | 5150 |
1698 | 혹시 | 지우압바 | 2000.06.23 | 4740 |
1697 | 별난 기타아에 관한 몇가지 의문? | 泳瑞父 | 2000.06.24 | 4136 |
1696 | . | 웅수 | 2000.06.25 | 4827 |
1695 | 앞판 색에 관한 질문 | 泳瑞父 | 2000.06.25 | 4246 |
1694 | ☞:바이스 버거? | 지우압바 | 2000.07.01 | 6461 |
1693 | 현을 바꾸고서... | 은정 | 2000.07.04 | 4898 |
1692 | 저도 고노인데.... | 명노창 | 2000.07.04 | 4429 |
1691 | 베란다기타 실패... | 명노창 | 2000.07.04 | 4704 |
1690 | 기타만들고파~ | ganesha | 2000.07.04 | 3764 |
1689 | 내손으로 만듭시다.어떡해? | 영서부 | 2000.07.04 | 3931 |
1688 | maple 넥... | cc | 2000.07.04 | 4944 |
1687 | aaa앞판가격은.... | 명노창 | 2000.07.04 | 4529 |
1686 | ☞:weissgerber가 맞아요.. | 말괄량이 | 2000.07.04 | 4026 |
1685 | 조나단과 스프러스 아이힝거.... | 형서기 | 2000.07.05 | 5140 |
1684 | r.e.brune price | brawman | 2000.07.06 | 5580 |
1683 | cgi price. | brawman | 2000.07.06 | 6519 |
1682 | banister price. | brawman | 2000.07.06 | 6173 |
1681 | g s price. | brawman | 2000.07.06 | 6805 |
1680 | red violin | 말괄량이 | 2000.07.07 | 6100 |
1679 | 게놈기타. | 말괄량이 | 2000.07.07 | 3877 |
1678 | 그로피우스기타 , | 말괄량이 | 2000.07.07 | 4609 |
1677 | ☞:자기 악기를 바꾸는 것은 바보? | 명노창 | 2000.07.09 | 4858 |
1676 | 오홍.... | 형서기 | 2000.07.10 | 5266 |
1675 | [질문]초보자 | 강씨.. | 2000.07.10 | 4921 |
1674 | 기타를 배우시려면.... | 형서기 | 2000.07.11 | 4838 |
1673 | ☞:비밀스런 이야기는요... | 웅수 | 2000.07.12 | 4865 |
1672 | [왕초보]기타 종류에 대해 물어볼것이... | 승은 | 2000.07.12 | 5293 |
1671 | ☞:제가아는 정도 | 명노창 | 2000.07.13 | 5251 |
1670 | 허영만 만화속 기타 | 지우압바 | 2000.07.14 | 6664 |
1669 | [초보자인데]도움을 주세여... | 용남 | 2000.07.14 | 4943 |
1668 | robert bouchet | 수 | 2000.07.15 | 4416 |
1667 | robert bouchet | 수 | 2000.07.15 | 4347 |
1666 | hermann hauser | 웅수 | 2000.07.15 | 4887 |
1665 | hermann hauser | 웅수 | 2000.07.15 | 4446 |
1664 | brazilian rosewood. | 웅수 | 2000.07.15 | 7293 |
1663 | 바리오스의 기타? 2 | 웅수 | 2000.07.16 | 5578 |
1662 | 바리오스의 기타? 2 | 웅수 | 2000.07.16 | 5480 |
1661 | cg price | 웅수 | 2000.07.17 | 6205 |
1660 | ☞:aaa앞판가격은.... | 피어리나 | 2000.07.17 | 4491 |
1659 | 기타 치는 법을 제대로 알고 싶어요~ | 천상민 | 2000.07.19 | 8769 |
1658 | 브라질 제작가 명단과 주소. | 수 | 2000.07.19 | 5647 |
1657 | 미국 제작가 명단과 주소. | 수 | 2000.07.19 | 4923 |
1656 | ☞:게놈기타. | 화음 | 2000.07.21 | 4102 |
1655 | 어떤걸 사야하나? | 이병훈 | 2000.07.21 | 5079 |
1654 | 수경낭자 감사*^^* | 이병훈 | 2000.07.21 | 4729 |
1653 | 기타수리 감사하답니다.. | 형서기 | 2000.07.23 | 4820 |
1652 | 셸락이라구여? | 형서기 | 2000.07.26 | 5740 |
1651 | 명노창님께... | 김남호 | 2000.07.29 | 4987 |
1650 | 조나단 힌베스에 대한 소식하나. | 수 | 2000.07.30 | 4819 |
1649 | 명노창님께 질문 | 김남호 | 2000.07.30 | 4148 |
1648 | 줄리안 브림이 한국전에 오려 했는데... | 수 | 2000.08.01 | 5016 |
1647 | 곰발바닥아이힝어 주인임다...^^ | 쪼~옹대 | 2000.08.03 | 4951 |
1646 | 오호...갔다가 왔군... | 형서기 | 2000.08.03 | 4559 |
1645 | ☞:aaa앞판가격은.... | 명노창 | 2000.08.04 | 4366 |
1644 | ☞:안녕하세요..명노창입니다. | 명노창 | 2000.08.04 | 3730 |
1643 | ☞:안녕하세요..명노창입니다. | 명노창 | 2000.08.04 | 4873 |
1642 | ☞:안녕하세요..명노창입니다.80년대 당시 가격표 | 명노창 | 2000.08.05 | 5459 |
1641 | ☞:안녕하세요..명노창입니다.80년대 당시 고노기타가격... | 명노창 | 2000.08.05 | 5045 |
1640 | 감사합니다=^^=명노창님 | 김남호 | 2000.08.05 | 5094 |
1639 | ☞:감사합니다=^^=명노창입니다. | 명노창 | 2000.08.05 | 4248 |
1638 | 앞판은 세상에서 가장연한 나무로 그리고 옆판과 뒤판은 대리석을 얇게 짤라서.... 1 | 명노창 | 2000.08.05 | 5532 |
1637 | ☞:감사합니다=^^=명노창입니다. | 김남호 | 2000.08.06 | 4049 |
1636 | 아! 이런 사람이였구나! | 泳瑞父 | 2000.08.08 | 4366 |
1635 | 술취한 기타소리 들어는 보셨는지요? | 泳瑞父 | 2000.08.08 | 4513 |
1634 | ignacio fleta......mikulka가 연주하는 | 수 | 2000.08.08 | 6821 |
1633 | ignacio fleta......mikulka가 연주하는 | 수 | 2000.08.08 | 6696 |
1632 | ☞:곰발바닥아이힝어 햐, 존 기타구나... | cc | 2000.08.10 | 5012 |
1631 | 프랑스에는 굴러다닌다던데... | 泳瑞父 | 2000.08.10 | 5240 |
1630 | 광주 사시는 분이셨군요. | 지우압바 | 2000.08.12 | 4298 |
1629 | 광주 사시는 분이셨군요. | 김남호 | 2000.08.12 | 4146 |
1628 | 대불대에 클래식 기타아과가? 1 | 泳瑞父 | 2000.08.15 | 4862 |
1627 | 대불대에 클래식 기타아과가? | 김남호 | 2000.08.16 | 4499 |
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