Andy Culpepper -> RE: Bogdanovich´s method for flamenco guitars (Feb. 16 2020 23:52:28)
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quote:
... when I just knock on my free plate I hear several notes from a certain natural overtone series. Souldn´t the pitch of that give me information about the ratio between stiffness and weight? And shouldn't this ratio (with all structural aspects in mind) be within a certain range to achieve a good result? That is an interesting observation if you can really hear all those separate pitches in the tap tone. I think you would need to use an oscillator to accurately assess those resonances though. If you look at the patterns on my #5 top it looks like I had resonances at D, G, A, E, G again, then Bb, then somewhere between C# and D, then between D and Eb, then F#. Nothing about that points to the fact that my monopole resonance was later around G#. At this point in my building philosophy, I agree with Echi that at the point when you just have the top braced, your main assessment of it should be simply using the thumbs to flex and determine the actual structural properties of the braced top. If you plan on making more guitars though, the more data about this one that you can gather the better. So make a note about what frequencies you feel like you're hearing out of that top, so later you can try to replicate it if you like the results. But no, I would not be trying to "tune" the top at this point because you're basically working in the dark if you have no previous guitars to compare it to. You can do that much more effectively later on when the guitar is assembled. quote:
Usually people try to tune the back a semitone higher than the top. I read some interesting topics of Alan Carruth about it. That's interesting because I would say that most of the guitars I have seen (and made) have the back tuned somewhere around a minor third to a major third above the top! I guess "at least a semitone higher" would be more accurate.
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