Tom Blackshear -> RE: fine tuning a top (Oct. 27 2012 22:22:39)
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quote:
I have doubts, I have breakthroughs, but some of us are more private about our connection to the tactile aspects of guitar making I think I understand what you mean. So I'll sign off with my previously written short article on guitar situations in general. I think wolf notes can be avoided but not always easily. Sometimes it takes me considerable hair pulling to get the G string just right to where it is smooth and attractive; something that blends with the other trebles in a vowel sound rather that just string noise, no matter how graceful. The vowel sound, for me, comes from the middle of the string register, not necessarily on the outside strings. And this is what seems to carry quite far in a concert hall, as long as the other string sounds are compatible. For me, the trick is to give the outside treble a higher frequency but allow the inside voice to push the envelope with an earthy compelling character that is not too heavy or dedicated in its tone, as to interfere with the musical composition. The voice should be slight in its own character but persuasive enough to compliment the music, not over-power it. If people are pulled into the character of the guitar's sound, too much, then this will detract from the music, to some extent. But tone is tone, and the wonderful part of music, is tone, and its expressive value to the people who hear it. And the more versatile the tone is, the wider dimension of enjoyment. I think it is truly possible to build character into a thin top; cedar or spruce, as long as the bracing pattern will guard the structure of the top from collapsing. And there are ways to eliminate wolf notes from thin tops by finely tuning the top. However, every top design has to be treated differently. I could not say that I would fine tune every uniquely designed instrument the same. But in closing, I'd like to say that a guitar should be a beautiful friend and like any person, we are not perfect, but the most compelling part to any person, as well as the guitar, is, that they stand on their own with their own individual appeal. This is what makes a guitar what it is. And this is what humanity is, not so much correct in all of our individual parts but beautiful in our entire unity. When a guitar maker considers this unique style of working out his plan, then he is on the right path. And the fact is it will have some unevenness in its working parts. But the ideal is to bring all of these uneven parts into a place where everything works for the good of the entire guitar. This was commented on by some Spanish builders of old, that when all of the mistakes come together, then a miracle happens. This is what fine adjustments are supposed to produce but not all guitars are created equal; for not only inter-dimensional tone has to be right but all aspects of playability have to follow. This is what makes guitar building extremely challenging. A guitar player is like an Island surrounded by a sea of music, and a guitar maker is like an Island with-in an Island. Or at least this is what I think we strive for, to make something that stirs the capacity of one's soul for musical expression.
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