Hello Florian,
You could look into Evo frets if you can live with the gold color. They are not as hard as stainless steel but much harder than traditional frets. The size, especially the height, also depends on the string gauge and how hard you press when fretting. These two factors impact the intonation quite a bit.
Kind regards,
Johannes
Hi @gnutix!
Thanks for your introduction. I am looking forward to your participation in the ProGuitar Community.!
@Woy, you will find some of the tabs for the video lessons here:
https://forum.proguitar.com/topic/40/emil-ernebro-tabs-and-notation
Cheers!
Going to grab the guitar straight away! :running: :bowtie:
Btw, more tutorials and articles will be published on ProGuitar Academy.
But for now, take your time and learn Fingerstyle Guitar by @emilernebro
Cheers!
@ProGuitar looks great! Thanks!
Hello @Lucas!
Thanks for introducing yourself. I really love your playing and I hope you will share your videos and recordings at ProGuitar in the future!
Cheers
Very welcome @Nicklas-Boman
Thanks for introducing yourself! Looking forward to your participation in building this awesome Community.
/Johannes
@FlorianFaber thanks for your introduction!
I really liked your playing style !
In the near future we will make it possible to embed the youtube videos here.
Cheers,
Johannes
Hello Aleksander,
Thank you for contributing to this community! We are working on multiple exciting projects and we will need as much help as possible to make this community and our coming applications awesome!
Vi hörs! :sunny:
@Praise22 Welcome to this forum!
We really appreciate that you are a part of building this community. It is so fun to gather people from all around the world who share the love to guitars and guitar playing.
Thanks for starting this interesting topic! One similarity is that they all are awesome guitarists :smiley:
:boom: @emilernebro this is your field! :grinning:
Hello Hudson and welcome to ProGuitar,
I am curious to hear more about you and I hope you will be a great part in building this community! :smile:
Hello Al and welcome to ProGuitar!
Im afraid I am not the person to help you. However, I got a recommendation through facebook on the book Six Decades of the Fender Telecaster: The Story of the World's First Solidbody Electric Guitar by Tony Bacon.
I hope someone else on this forum could give you a better and more fun answer! :smile:
Summary
This topic will act as a draft and basis to an article covering the work that Greg Byers ( @ByersGuitars) and I did in 2014. The aim of the "research" was to collect, both objective and subjective, data to deepen the understanding in how different construction parameters such as bracing systems, top, back and side thickness impacts the modes of vibration and sound characteristics of the guitar. Also, we further tried to cover the interaction between top and back plate. The full article will later be published on ProGuitar.
Thanks to Greg's experimental guitars we were able to make measurements on over 100 different combinations of bracing systems, back, side and top thicknesses. Most of the measured results verified the well known science in the field but we also found new interesting acoustic behaviours, to my knowledge, not earlier explained.
Top plates
The experiment consisted of 6 (3 pairs of) top plates with the thickness of 1.5mm, 2.2mm and 3.0mm.
Type of wood:
Top plate: Spruce (Picea Engelmanni)
Bridge: Rosewood (Dalbergia maritima)
Bracing systems:
Back plates
The experiment consisted of 4 (2 pairs of) back plates with the thickness of 2.2mm and 2.9mm.
Type of wood:
Back plate: Rosewood (Dalbergia latifolia)
Back struts: Mahogany (Swietenia macrophylla) and Spruce (Picea abies)
Bracing systems:
Sides
The experiment consisted of 4 pairs of sides. Two with a thickness of 1.4mm and two laminated sides with a total thickness of 2.7mm. The thick sides were also reinforced with ebony and equipped with closable sound ports.
Type of wood:
Sides: Rosewood (Dalbergia latifolia)
Neck- and tailpiece: Mahogany (Swietenia macrophylla)
Neck & Strings
The experiment consisted of 4 "identical" necks and the strings used were D'Addario Hard Tension Nylon strings.
Type of wood:
Neck: Mahogany (Swietenia macrophylla)
Fretboard: Ebony (Diospyros crassiflora)
The measurement setup
We needed to find a method to standardise the measurements to get comparable results which also were repeatable. This was done both when generating the input to the guitar but also when recording the output.
Getting a frequency response from an acoustic system is basically done by using all frequencies as an input, measuring the response and performing a Fourier transform.
This can be done in three ways;
We found the dirac pulse to be the most correct way due to the impact of transfer functions in other input systems.
I am not going to explain the physics but what you need to know is when using a very short pulse as an input to a system you are actually putting energy in all frequencies and the system will respond with it's acoustic behaviour, i.e. the frequency response. The frequency response tells you how different frequencies pass the system, or in this case, the guitar's amplification for every frequency. In a complex non static system ,as the guitar, a frequency response is not able to describe the complete acoustic behaviour. However, it can tell us many important main characteristics.
Practically, how do we enter a dirac pulse into the guitar? It is easier than it sounds. When using your knuckles and knock the guitar you are are actually creating a quite perfect dirac pulse, i.e the guitar will respond with it's transfer function. Equally, when you clap your hands in a room the room will answer with it's frequency response. The physics of acoustics is pretty beautiful. You give the system a knock, asking how it works, and it immediately respond with a great description of itself :smirk:
We now needed to make a tool that repeatedly could knock the guitar with the same force every time. This was done with help of a pendulum and the gravity. The pendulum was made of a plastic ball, some wood, a rod, and then mounted on microphone stand. See image below.
To the inquisitive; the energy entering the guitar in each pulse was approximately 58mJ.
Greg had made a wooden construction to hang the guitar and position the recording microphone on the same distance for every measurement. The impulse response was measured at a distance of 1m from the guitar and 0.8m above the floor. The guitar bottom was placed about 0.59m above the floor. Measurements were made both inside and outside to compare the impact of room reflections.
For the top plate measurements the Pendulum was positioned to hit the bridge bone saddle from the bass to the treble side. For each construction combination the peak average of ten different saddle positions was measured.
For the back plate, the pendulum was positioned at three different spots (see image below). Each spot was hit three times starting with the middle of the lower bout, the down right of the lower bout and at last the right of the upper bout.
The equipment used was:
Modal Analysis -
When studying the vibrational pattern that arises on different resonance frequencies we entitle this as Modal analysis. Each vibrational behaviour/pattern is called a Mode. There are multiple ways to visualise these patterns and I will go through a couple of them and especially the method we used in this project.
-Chladni pattern/figures
Chladni figures is named after the german physicist Ernst Chladni. In the 18th century he described a method to visualise the vibrational patterns with sand on a metal plate using a violin bow. When drawing the bow on the metal plate the sand bounced from areas of great vibrations to areas of no vibrations, so kalled nodal lines.
Today many luthiers use a loudspeaker driven by a signal generator to get the guitar to resonate. Another way is to use a coil and a magnet which I will describe later on.
In this project we did not focus on "standard" Chladni patterns but as a reference, I will add an image on some chladni patterns I have done earlier with some nice earl grey tea. :tea:
-FEM analysis
-Our approach
....
This text will be updated continuously during July 2017 ....
We really appreciate comments, feedback and questions!
Hello and welcome Emil! Hope you will enjoy this community. ProGuitar is now working on some really interesting projects :smirk:
Hope to see you around!
Hi and welcome this Guitar Forum! What areas is of great interest from your point of view?
Hello Anders, and welcome to ProGuitar!
So far, it seems that there are a majority of guitar makers registered. Which I really like ;). Do you have a direct link to your Facebook page?
.
I have now made the source public:
The source files at google drive
Please help to add the different fixes, simulate and make the result public!
Kind regards,
Johannes
