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 |
---|---|---|---|---|
1727 | matthias damman [2] 4 | 방 | 2002.10.14 | 5019 |
1726 | - 7현기타 업네크 | 오모씨 | 2005.01.31 | 6699 |
1725 | 로제트는.. 어떻게 만드는거에요? | 아따보이 | 2002.07.13 | 4860 |
1724 | 명기들이 많은 ......우에노역 근처의 aura 5 | 수 | 2004.10.11 | 6446 |
1723 | - 7현기타 뒷모습 | 오모씨 | 2005.01.31 | 6792 |
1722 | Agustin Barrios' original guitar (1914) 7 | 고정석 | 2011.10.25 | 13273 |
1721 | Bernhard Kresse | 수 | 2000.10.23 | 4127 |
1720 | French Polishing(번역본) -- 전부 번역되면 수정하겠습니다. | 고정석 | 2002.07.26 | 6952 |
1719 | José Romanillos SP/IN (Classical) | 고정석 | 2002.10.19 | 5478 |
1718 | 마르비 사진 1 1 | Limpman | 2005.12.08 | 6091 |
1717 | 바리오스의 기타? 2 | 웅수 | 2000.07.16 | 5578 |
1716 | 바리오스의 기타? 2 | 웅수 | 2000.07.16 | 5480 |
1715 | 수님 보세요 | 이재화 | 2001.02.17 | 3918 |
1714 | 수님............ | 이재화 | 2001.02.28 | 3947 |
1713 | 싸즈(saz) 의sound hole(울림구멍) 1 | chokukkon | 2010.03.11 | 10860 |
1712 | 역시 기타를 칠려면 손가락이 가늘고 길어야 ㅠㅠ | 기타는멋쟁이 | 2006.01.18 | 5720 |
1711 | 이런 기타 이름을 뭐라해야.... ? 13 | 콩쥐 | 2008.09.07 | 9143 |
1710 | 전설적인 명기 | 수 | 2003.07.11 | 5964 |
1709 | 칠이넘 어려워......... | 이재화 | 2001.02.16 | 4248 |
1708 | 하카란다 에 대한 혼동 ? 19 | esteban | 2006.03.06 | 7657 |
1707 | ##이렇게 한 번 해보세요^^... | 박성운 | 2000.12.16 | 5037 |
1706 | 뭰히 길들이기 II 1 | 산넘 | 2001.10.09 | 4371 |
1705 | 뭰히 길들이기... 6 | 산넘 | 2001.09.12 | 5180 |
1704 | '라이징 보드'와 '노말 보드'의 차이점 5 | 로망스 | 2006.02.28 | 7463 |
1703 | '사바레즈 '의 특징은 뭐예요? 4 | 진 | 2001.05.31 | 5516 |
1702 | (현장길이, 장력, 왼손)과 이에 따른 오른손의 견해 4 | 우 | 2004.02.16 | 6406 |
1701 | - 7현기타 브릿지 | 오모씨 | 2005.01.31 | 6084 |
1700 | - 7현기타 사운드홀과 라벨 8 | 오모씨 | 2005.01.31 | 6822 |
1699 | - 7현기타 앞모습 | 오모씨 | 2005.01.31 | 7061 |
1698 | - 7현기타 포지션마크 | 오모씨 | 2005.01.31 | 7171 |
1697 | -- 뒷판 굽(heel)부분 1 | 오모씨 | 2004.02.15 | 5941 |
1696 | -- 뒷판 하까란다~ 4 | 오모씨 | 2004.02.15 | 6484 |
1695 | -- 라벨 -- 10 | 오모씨 | 2004.02.15 | 6267 |
1694 | -- 로제트 2 | 오모씨 | 2004.02.15 | 6567 |
1693 | -- 몸통 자세히 4 | 오모씨 | 2004.02.15 | 6945 |
1692 | -- 브릿지~ 3 | 오모씨 | 2004.02.15 | 6437 |
1691 | -- 암레스트래요~ 2 | 오모씨 | 2004.02.15 | 6483 |
1690 | -- 어쿠스틱포트 1 2 | 오모씨 | 2004.02.15 | 5934 |
1689 | -- 어쿠스틱포트 2 / 라이징 보드 | 오모씨 | 2004.02.15 | 6596 |
1688 | -- 헤드에요~ 2 | 오모씨 | 2004.02.15 | 5823 |
1687 | . 4 | 수 | 2002.07.13 | 5117 |
1686 | . 2 | 수 | 2001.12.27 | 5897 |
1685 | . | 웅수 | 2000.06.25 | 4829 |
1684 | . 1 | 수 | 2001.07.09 | 4680 |
1683 | ... | 수 | 2001.01.31 | 4666 |
1682 | 0프렛에 대해... 제로프렛??? 28 | 쏠레아 | 2008.09.12 | 11378 |
1681 | 100년된 하카란다 덩어리. 2 | 콩쥐 | 2005.09.20 | 9940 |
1680 | 10미터높이의 연주회장 천정....placio de la guitarra 2 | 수 | 2004.10.11 | 6928 |
1679 | 11현 기타의 조율...진철호님의 글에서 퍼왔습니다. 1 | 수 | 2002.03.10 | 5969 |
1678 | 120센티 갈라진 기타 | 수 | 2023.05.17 | 1514 |
1677 | 12구멍의 브릿지 | gaspar | 2000.12.27 | 4446 |
1676 | 12줄 Kali... 2 | 간절한 | 2002.07.27 | 5532 |
1675 | 12현기타 자세히보기 15 | 콩쥐 | 2009.09.30 | 11299 |
1674 | 12홀 브릿지 줄 매는 법(알마기타 펌) 2 | 그놈참 | 2004.10.07 | 7607 |
1673 | 12홀 브릿지는 장력이 센가요? 17 | 브릿지 | 2010.05.18 | 13181 |
1672 | 12홀 브릿지에 유감 있음 (-_-) 11 | audioguy | 2004.10.06 | 6038 |
1671 | 12홀 상아단추의 길버트모델브릿지 7 | sangsik | 2003.05.04 | 6953 |
1670 | 13현 기타 5 | 13s | 2009.11.13 | 7459 |
1669 | 1863 Torres Guitar played by Richard Brune 10 | 고정석 | 2009.07.11 | 7286 |
1668 | 1920년 싼또스 에르난데스 1 | 혁 | 2004.12.22 | 6921 |
1667 | 1930년 헤르만 하우져 1세 | 혁 | 2004.12.22 | 6358 |
1666 | 1962 Classical guitar by Robert Bouchet_Brompton's 경매회사 4 | guitarguitar | 2013.10.19 | 10403 |
1665 | 1965 David Rubio Julian Bream SP/BR | 고정석 | 2002.06.16 | 7447 |
1664 | 1970 Ignacio Fleta | 고정석 | 2002.06.16 | 9503 |
1663 | 1973년 Romanillos Guitar Plan | 고정석 | 2007.12.09 | 10067 |
1662 | 1년 걸려 부쉐 모델로 Gregorio 2호 완성했어요 24 | 그레고리오 | 2007.08.28 | 8184 |
1661 | 1달러짜리 기타줄 | 수 | 2023.05.17 | 1271 |
1660 | 2%님은 나머지 98%를 어따 뒀어? | sophia | 2000.08.19 | 4766 |
1659 | 2005년 5/3~5. 일본동경근처의 기타문화관에서의 기타전시회. | 수 | 2005.02.17 | 5091 |
1658 | 20년된 기타 | gdream7 | 2005.12.31 | 6407 |
1657 | 20년된 기타 | gdream7 | 2005.12.31 | 7311 |
1656 | 20년지난기타 올 쉘락칠. 1 | gdream7 | 2005.12.31 | 6419 |
1655 | 20프렛 장착 | 수 | 2023.12.01 | 801 |
1654 | 24 Strings Sympitar!!! 1 | 간절한 | 2002.07.27 | 4830 |
1653 | 2만달러짜리 담만기타 사진(앞,뒤) | 명노창 | 2000.10.23 | 7239 |
1652 | 2홀 슈퍼칩 3 | 리브라 | 2011.05.12 | 14059 |
1651 | 30년 건조된 이탈리안 스프르스 | 수 | 2024.04.14 | 153 |
1650 | 30분전에 준비된 소리가... | 새내기 | 2001.04.10 | 4289 |
1649 | 30분후 기타 소리가 조아지는데... | 새내기 | 2001.04.02 | 4366 |
1648 | 350년된 스트라디바리우스 | 수 | 2024.04.14 | 176 |
1647 | 3번선이 얇아지면 해결? | 개팔자 | 2000.09.13 | 5223 |
1646 | 3번선이 얇아지면 해결? | 개풀 | 2000.09.13 | 4929 |
1645 | 3피스 넥 핑거보드 | 수 | 2023.01.19 | 1361 |
1644 | 42현 피카소기타 12 | Amigo | 2007.01.08 | 8597 |
1643 | 5 Famous Torres Guitars 2 | 고정석 | 2017.08.23 | 8046 |
1642 | 5 piece guitar 1 | 수 | 2023.01.27 | 1402 |
1641 | 5 PIECES TOP | 수 | 2022.09.15 | 1795 |
1640 | 50호정도의 기타를 구입하려는데 조언을 17 | 오원근 | 2001.04.18 | 4458 |
1639 | 5벌 수입해서 다 뽕발났네....... | 명노창 | 2000.10.08 | 4888 |
1638 | 5피스 기타 | 수 | 2023.11.22 | 857 |
1637 | 630mm 기타에 관한 이야기(번역) 5 | gaspar | 2004.01.09 | 10488 |
1636 | 635 사이즈도 좋아요 | 수 | 2023.06.12 | 1124 |
1635 | 6번현보다 5번현 소리가 특히 큰데....~ 3 | 으랏차차 | 2002.03.27 | 5039 |
1634 | 6현기타가 10현기타로... 1 | 콩쥐 | 2009.09.08 | 7232 |
1633 | 71번글. 글쎄요? 과연 그럴까요? | 개풀 | 2000.08.17 | 4196 |
1632 | 7현 기타~ 12 | 오모씨 | 2004.01.12 | 6447 |
1631 | 7현기타 4 | 수 | 2020.07.09 | 3733 |
1630 | 7현기타 | 수 | 2023.06.14 | 1201 |
1629 | 7현기타 옆구리 5 | 오모씨 | 2005.01.31 | 7360 |
1628 | 8-stringed guitar.....brahms guitar. | 수 | 2000.08.28 | 41298 |
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