Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.
This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.
We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.
|
|
|
RE: Stephen Faulk GAL Article INCLUDED on flamenco guitar tap plate- golpeador
|
You are logged in as Guest
|
|
Users viewing this topic: none
|
|
Login  | |
|
   
estebanana
Posts: 9351
Joined: Oct. 16 2009
|
 RE: Stephen Faulk GAL Article INCLUD... (in reply to devilhand)
|
|
|
quote:
From what I know flamenco guitar sound has high frequencies which are not suppressed in comparison to classical guitars.
In the comment section of this video there's an interesting comment posted by John Taylor who wrote the famous book Tone Production on Classical Guitar.
I feel like the difference between tone production by the player and the physics of the high partials on the actual instrument might be getting confused.
But I agree with Rob F. that the way most people conceive of classical guitars today is that they are more bell like in tone. Classical is identified with round clear tone like a bel canto singer and the way a classical player is trained to release the notes is to use the guitar to bring out that full singing line and play harmony to that. But modern classical players extend the tone range possible on guitar and mix in other tones besides a bell tone, they might even though in some 'slap bass' technique.
Classical guitars now are usually constructed to be a bit more forward to that bell like concept of tone and sustain, that makes them generally more active with overtone production...but this is a complicated subject because not all players favor a guitar with 'hot' overtone flavor. And with that comes a whole discussion of how each guitar responds to the attack on the strings, how the envelope of sound of a particular guitar responds to a plucked note or chord. Does the note decay rapidly or not? etc.
Flamenco guitars in general are better if they don't have a lot of inherent sustain because they are driving beat with chord sequences, sustain piles up and gets in the way. So like Rob says tthe type of guitar that works best for that is one with the overtones less present, dialed back, and an emphasis n a easy to hear mid range.
Making classical and flamenco guitars is virtually the same process, but with emphasis on the difference between bel canto line and midrange power house. The difficult part for the maker is that nylon string guitars by virtue of their box size, top physics and string tension naturally favor being 'bassy' the bass is easier to achieve than the treble notes. So most of the time is spent trying to understand what makes a good midrange to treble transition without knocking down the midrange. The bass end of it tends to be easier because these frequencies are already build into the box due to the volume of air and string length.
The trouble starts when the strings get divided half at the octave node, and then that octave gets divided in half again, these are the frequencies we call the over tone series or upper partials. They are very difficult to understand and controlling them has eluded the best of the technical analysis of the guitar. The reason is because there are so many factors that control how the lower frequencies ' the box frequencies' are produced that when those upper partial series are activated they are developing relationships with lower frequency vibrations and it's all hard to separate.
You could read an essay called 'String Theory' by Al Carruth, it's on his website where he goes into this from a physics stand point. His conclusion is that the upper partial series is really complicated and we don't really know much about it.
I hope you can appreciate the candid admission that I know very little about how the overtone series works, but others are working on it. I can however make a good tap plate.
String Theory:
http://alcarruthluthier.com/Downloads/stringTheory.pdf
_____________________________
https://www.stephenfaulkguitars.com
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Sep. 4 2020 2:13:06
 |
|
ernandez R
Posts: 737
Joined: Mar. 25 2019
From: Alaska USA
|
|
RE: Stephen Faulk GAL Article INCLUD... (in reply to estebanana)
|
|
|
quote:
ORIGINAL: estebanana
I posted this article to the Delcamp Classical forum for laughs, I’m laughing because *crickets* nobody is leaving any comments. I did get a private message when the article appeared saying it was helpful and interesting, but the person builds flamenco and classical guitars.
It’s really overall a nice bunch, but with less interest in flamenco guitars than the foro has for classical guitars. It’s funny to me that there is such separation. I like to challenge it a bit once in a while. A couple years ago I posted a nice thread about using pegs on classical guitars in which I solicited opinions about pegs.
The response was vigorously opposed in general with a few defending my right to even ask opinions. I received two or three private messages that were extremely against with lectures on mechanical gearing and hate for friction stopping the unwinding of a peg.
Then months later I got mentioned by a few makers who did make classicals with pegs, and they were happy I brought it up. I made the peg post mainly to annoy them, I never consider myself a real Hellcamper, just a flamenco drifter passing through.
Thiwas the peg thread where I first heard of tipping the pegs a few degrees so as to impart a tightening tendency. Ninety degrees to th head stock and the string tension is actually pushing the peg out of the taper. I've done all of mine trying anywhere from three to six degrees with the goal to have the string to peg angle, the side if the peg closest to the nut, at a few degrees over ninety.
The Delcamp is a great resource with years and years of Luthiery input, like any web forum just have your BS filter in high.
Chuckled at your LSD cat n the hat, ive raised one child and it's like that, only I am the Lorax, I speak for the trees, I speak for the trees cause the trees have no tongues. Nothing has made Recardo more real in my eyes then seeing his children running around in the background as he is trying to film some often serious nuonce of musical therioy for us on the foro: olé!
And we are all drifters... I read the foro every morning but hadn't made the time to add my two centoveos in a while, I rarely have anything to add. Glad you have drifted back into the community, we are better for it.
HR
_____________________________
I prefer my flamenco guitar spicy,
doesn't have to be fast,
should have some meat on the bones,
can be raw or well done,
as long as it doesn't sound like it's turning green on an elevator floor.
www.instagram.com/threeriversguitars
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Sep. 7 2020 21:28:49
|
|
 New Messages |
 No New Messages |
 Hot Topic w/ New Messages |
 Hot Topic w/o New Messages |
 Locked w/ New Messages |
 Locked w/o New Messages |
|
Post New Thread
Reply to Message
Post New Poll
Submit Vote
Delete My Own Post
Delete My Own Thread
Rate Posts
|
|
|
Forum Software powered by ASP Playground Advanced Edition 2.0.5
Copyright © 2000 - 2003 ASPPlayground.NET |
9.326172E-02 secs.
|
Printable Version
