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Thin vs thick back and side?
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keith
Posts: 1108
Joined: Sep. 29 2009
From: Back in Boston
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RE: Thin vs thick back and side? (in reply to estebanana)
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Stephan, I used Smallman, per the O.P. inquiry, as the example as he uses thick sides and back and his work is readily known to many. As you correctly pointed out he is not the first to use thick sides--several luthiers have used various laminations of sides including Ramirez. I believe Smallman is the first to use both sides and back--or at least he is well known to be one of the first to use both. I have read the rationale for the thick sides and back is, in part, to help reflect sound--as well as providing a stiff framework to allow the top to vibrate to its' maximum. As to banjos, many folks who have played or listened to a Smallman have remarked the guitars have a banjo sound to them. There are a couple of pieces on John Williams, The Guitarist, CD that have a shrill almost banjo-ish tone to them. Overall the guitars I have heard, played by John Williams and Xuefei Yang, have a lot of range and depth.
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REPORT THIS POST AS INAPPROPRIATE |
Date Jul. 2 2015 17:18:59
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estebanana
Posts: 9380
Joined: Oct. 16 2009
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RE: Thin vs thick back and side? (in reply to keith)
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quote:
Stephan, I used Smallman, per the O.P. inquiry, as the example as he uses thick sides and back and his work is readily known to many. As you correctly pointed out he is not the first to use thick sides--several luthiers have used various laminations of sides including Ramirez. I believe Smallman is the first to use both sides and back--or at least he is well known to be one of the first to use both. I have read the rationale for the thick sides and back is, in part, to help reflect sound--as well as providing a stiff framework to allow the top to vibrate to its' maximum. As to banjos, many folks who have played or listened to a Smallman have remarked the guitars have a banjo sound to them. There are a couple of pieces on John Williams, The Guitarist, CD that have a shrill almost banjo-ish tone to them. Overall the guitars I have heard, played by John Williams and Xuefei Yang, have a lot of range and depth. Keith, you may be right Ramirez may be first, ( or even some one in the 19th century, but the Freiderich and Ramirez both have similar reasons for using stiff sides. It's a super can of worms I'd rather not get bogged down in, but all backs are reflectors, they don't really add much sound. The exception might be the double body guitars John builds. Smallmans work the same way ever other guitar works, but certain parts have been taken to extremes of stiffness and lightness which emphasizes some characteristics over others. On the opposite end of the spectrum is a flamenco guitar, if the ribs are thin and movable then some of he movement of the top and energy is absorbed by the ribs. The rim of the sound board is not as inviolate to movement, all this is really complex and it's not as simple as one style of construction reflects sound and the other does not. I think the comparison of Smallmans, Redgates and the other makers who build those guitars to banjos slightly off. I think they sound and function musically more like pianos. They have precise articulation in chordal playing and very little "distortion" ( in th electric guitar sense) the kind of romantic fuzzy sound a Spanish style construction can have. The difference between flamenco guitars and Smallman's to me is more like a clean jazz archtop and a electric guitar with a bit of distortion. Or a big grand piano and a harpsichord. The other way characterize them is warm an cool, like colors. Smallmans seem generally cool and Spanish guitars are warm. I've thought about building one, but it's like being flamenco Luke Skywalker and then having classical Darth Vader say come to the dark side, you are my son Luke. It's like once you go there maybe you don't come back....hahahah
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https://www.stephenfaulkguitars.com
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REPORT THIS POST AS INAPPROPRIATE |
Date Jul. 3 2015 2:05:01
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