Awesome Daniel Friederich Article

[schrammguitars]

Here is a link to an old D.Friederich article I've been searching for:
http://www.lutherie-guitare.org/docsPub ... M%2092.pdf

Awesome info. Scroll down to the last 7 pages for some cool illustrations. I'm still working on the English translation. I'm using Babel fish little by little, but editing out the goofy translations. Anyone here speack French who can help?

[matthew]

je ne veux pas traduire tout l'article ... mais s'il-y-a quelque chose que tu ne comprends pas, je peux t'aider

[kiwigeo]

je ne veux pas traduire tout l'article ... mais s'il-y-a quelque chose que tu ne comprends pas, je peux t'aider

"Your donkey has eaten my passport"

[Puff]

Google translator.
A doc this size might need three hits and you will probably have to cut and paste the pics and do a separate translate in the caps. Some editing will still be required but the gist will be plain.

[matthew]

je ne veux pas traduire tout l'article ... mais s'il-y-a quelque chose que tu ne comprends pas, je peux t'aider

"Your donkey has eaten my passport"

Ah, oui. Zat is ze code for "ah hef poot a berm under ze bert"

[schrammguitars]

Google translation turned out much better!

[schrammguitars]

Here is what I got with Google. Still trying to clean it up. If anyone can help that would be great!

Page 1
D aniel Friedrich
Emile Leipp
June 1977
No. 92
Guitar
Operation
GAM
Bulletin of the Group of Musical Acoustics
University PARIS VI Tour66
4 place Jussieu
75005 Paris

Page 2
PRINCIPLES OF OPERATION OF THE CLASSICAL GUITAR
There are two parts:
1) The exciter system, these are the strings
2) The system amplifier and resonator, constituted by the sound body of the instrument.

The strings provide a rich signal, many frequencies to be amplified by the table, if well designed, and other parts of the body sound. All these pieces, these parties have a natural frequency and act as resonators. Because they are secured, strapped, they are glued coupled resonators. The big problem is to amplify all frequencies emitted by the strings without benefit or restrict some of them ie, without on-resonance or holes in the instrument response which must be equal for all notes and work towards this goal. If the table amplifies strongly reinforced by the frequency vibration of the component parts were over-resonant.

The opposite is also possible. We can change the components, all parts for a very even response, but without harming the quality- LITIES already acquired. Fairly quickly a new problem appears. The energy com-quee by the thumb to the string can be recovered from the guitar three seconds or six seconds, depending on its construction.

We will then have two choices possible extreme.
1) Make a light guitar, with more than 1600 grams a fine table, like a drumhead. There will be strong
amplitudes but its rapid extinctions, especially since the background will be very thin and the sides equally.
This will give strong bass, a sound round and dull in general and a short sound that we hear many attacks.
2) Make a more heavy, with thicknesses strongest, with a table more strongly barred (well ribbed) that
resists, which is "spring" that is not blocked at the end of the race. With a well thought out the whole race will be in balance with good
Page 3
potential oscillation. Where: its length. Maximum power and excellent
performance. It should be noted that nothing can change without changing any something in response, the sound of the guitar, for good or evil. To advance a very careful observation is necessary. A data sheet must be established for each instrument. Finally, the constructor is only for the choice of options. It must be endowed with an analytical mind and a good artistic sense sure. There is no "secret key" to design, create a guitar
but a thousand things to know. There are no "tricks" miraculous, "but Only experience and a lot of experiences to draw observations, lessons and solutions. Among the many problems at present some luthier difficult to grasp the realities that are beyond the partially Technical Laboratories and are falling into the artistic field
that (which is still quite large).

These experiments will focus on:
1) The power (far, close)
2) The length of its
3) Equality noise
4) The stamp
5) The balance between bass and treble
6) The feel easy or difficult instrument
7) The homogeneity of sound
The spontaneity of response and sensitivity
9) The attack of the sound - audible or not
10) Contrast (play harpsichord or harp)
11) sympathetic resonance - present or not.
12) Clarity in agreements or darkness.

All these elements are the main characters of the ins-ment but we shall see, in the context of this discussion, some of them. The power and length of its specially. In fact, the investigator will take the measure of other items During his search for power and its length. What priority given to different parts of the instrument
for their study?

Page 4
Should we experiment on several points at the same time, inter- interpretations will be questionable and difficult, in order of importance it
So will see:
1. The Table with its dam, the choice of wood, thickness.
2. The nature of the channel thick.
3. The Unit, split the bottom.
4. The Bridge with the volume and shape, the arches.
5. glues, varnishes.
The study which follows concerns above all the "Table-Channel- Strings. "Then we'll see a search on the role of the Table Fund and supplemented by a historical and technical easels.

SYSTEM TABLE - ROUND - STRINGS POWER SEARCH
Testing Theory of Operation
(It is implied that the majority of guitarists wish to own an instrument with a long sound which will have a hand, a less explosive in the first second, but will still be in the body follows.)

To let go of the rope, take the 6th, the low E - after create a power surge, so a simultaneous movement of the table and handle, by finger pressure on the rope, there is a set complex vibration of the instrument.
1) Direct Way The table at the drop starts to oscillate, vibrate under the action of the rope. The handle well, especially the head (easy to check if she is held between fingers) at the other end of the rope. If the wood handle and the heel is fairly hard and rigid and flexible bottom and there will be a bit crazy as the substantive motion which tend alternately under the pull of the heel (f i g. 25). Movement which can not exist without the presence of a curved bottom and domed.

Page 5
Part of the table (which is vaulted) behind the bridge is also subject to additional traction at each vibration
the rope (which is based in a complex vibrational mode). The vibrations will instantly connect with splints
and substance by the material used and it will strengthen certain frequencies, giving special character in a series of sounds,
2) indirectly, by air The volume of air vibrating, created by displacement of table, will operate the bottom and. splints around their frequencies clean and projecting sound waves through the opening of the table Combine all these vibrations are superimposed to give sound complex with a certain character that tries to master luthier.

Channel
By looking more closely at the sleeve there are three points bending, articulation possibilities that are the site of release of vibratory motion the rope and combine instantly fig.26

Consider two extreme cases:
This handle can be made in a wood hard, heavy and rigid.
- Carved in wood or soft and light,
- Or simply too late - or too big.
(We can establish that a handle is too thin when under tension string hollow, his arrow is over four tenths of a millimeter If this tolerance is exceeded observed phenomena crimp string bass and "snap" treble when they reached the sixth or seventh fret that force the nut to raise the bridge).

Handle heavy and rigid
One can imagine then if a handle is too heavy and too rigid, that letting go of the rope
his reaction - suddenly released - will impede the movement of the rope. It dominates the system and will prevent installation Fast regime of low frequency vibration, for example. The low will be dry and free of soft. It behaves like a filter. The handle that pulls anarchically will also hinder the table, where coupling
difficult issue without spontaneity, and ultimately lose power.

Soft light or handle end.
Consider the opposite case of a very soft handle or too late, it is also unfortunate. When the
finger pressing the string creates a Surge is the lowest end, which bends the flexible, moving. In this

Page 6
this will be the case that will stick in front, not the table that will move very little, which is not the goal as a luthier. Of course it is tempting to establish that it's all so to move the table is important, and ensure that action
strings only manifest his side table. Can see some luthiers then place a very robust handle on their guitars, or
achieve an inner frame of the handle. The solution of this problem lies often a compromise between the advantages and disadvantages.

Table
The problem gets to the table at the other end of the rope. It can be seen schematically, also in two different ways and extreme.
l / Table too rigid. She moves little, where a small sound enough dry and clear with little amplitude and a difficult game.
2 / Table too soft. We obtain large amplitudes that promote low harmonic 2 very safe, easy touch of softness in
serious, but a short sound in general.

It is possible to visualize and illustrate the oscillating system at little expense, placing two small rollers spaced forty inches a first rod spruce 5 mm 5 mm in width (Fig. 27). By hanging a weight of 500 gr in the middle that you pull down slightly and that is released, there is a moving fast enough and long in duration (the weight is the string action on the table).

Channel table
Then placing a stick of wood, but even thinner, a thickness of 3 mm only, if it is repeated observed a movement of large amplitude, much slower and more short that represent the behavior of a table too soft.

Combining Tables & Sleeves are two extreme cases.
1. Channel Table and too rigid - only lengthens the rope, nothing does not move willingly, the show is painful, the sound is small, dry, little stamped metal and not serious.
2. Channel Table and too flexible - it will be very serious, touch the guitar will be soft (pasty with a phrasing) The sound will be short and generally dull and there will crimp and breakdown phenomena in the attack of notes.
Page 7
It may also consider adding a handle to a flexible Rigid table or otherwise which we have already seen the event. This will always be an artistic choice violin representing the personality of the author. Choice in choosing the manner of luthier appears, emerges. The search for power, ie to balance the system
"Table-Channel-Strings" can be facilitated by the Measurement of flexity of the Channel and the table separately, then by that measure, the instrument being terminated, ropes and strings stretched relaxed, as
we will. see section "Control of deflections.

Note luthiers of the past tended strings of their instruments until it "Sounds" and works well. It seems that
Today the demands are greater. In fact, for the it is long, well stamped without weaknesses in three octaves
and a half, considerable research is needed, maintaining a Agreement sets given by the pitch at A 440 hertz.
To create the best agreement and the balance of the table, neck and strings can be achieved with an adjustable handle fixingtion is also adjustable with two screws that come to bear on the table. We have personally built, but the variation is not large enough. 2nd solution: It only remains to adjust the table after a trial of the instrument (that repentance is only possible on a planned dam for this purpose). 3rd solution: It is possible (to improve things by changing pulling the strings. A final observation about the wood they made over one hundred years the sleeves of most classical guitars quality The Honduras Cedar seems to have a rare quality in addition to its stability and lightness. Texture well dampened (and very fragile to blows) to stop him, to filter certain vibrations Prove ing of the head and could harm if they reverberated juice- that the body sound vibrations overlapping side-knight let. This wood gives a character so clean, crisp and homo- geneity sounds, and spontaneity because of its lightness.

Page 8

REVIEW OF THE WOODS - REVIEW
General Considerations
When the violin maker came through trial and error to an excellent result is poses a major problem: "How exactly replicate the instrument both in terms of power that stamp, homogeneity, touch, etc. ...". (He is talking about high-level violin) The woods are extremely diverse in most cases. And it even within one tree and a plate of this tree.

There are several possible positions facing this problem.
1. a / The optimist says, "spare me the chance of surprises"
2. b / The manufacturer concerned will think: "I prefer to control the possible and try to reduce the field even blur some of my knowledge, and to offer a variety of works and appropriate. "
3. c / or will say: "With my knowledge I try to build guitars homogeneous quality very similar, with woods yet very often different. "

In any case the errors are "unwelcome" and annoying problem the selection of wood arises.

Notes The first search that is necessary to have a wooden table from the single plate (hard to achieve because the tables are sold commercially most often mixed.) After a few years we see that boards made up of tree trunk are shorter, more rigid. In next sawing while we take care of numbering the tables by dividing the trunk
three or four parts in increasing rigidity and fine layers. We realize that in spite of mixed results.
The same would be done to the sleeves, cut in ends of a plank width, can vary in weight and stiffness
an important way.

Page 9
To get out of a violin-ha sard, we must go further and control systematically all pieces and weigh them, choosing exactly ment the same type of wood that gave interesting result.

Fortunately violin making any thin slabs of wood invoice guitar lends itself to checks and examinations, difficult on stringed violins. We therefore propose a few quick observations of softwood used
for tables (in the case of spruce) before giving ideas precise control of bending and calibration of different parts Details; As inflections that may present the instrument being workmanship and finish.

CONSIDERATION OF A PIECE OF SOFTWOOD STRUCTURE OF SPRUCE

These woods are composed mainly of axial cells (In the sense of length) which are tiny "pipes juxtaposed"
of a millimeter and a half to four and a half millimeters in length. They often constitute 90% of the total volume of wood. There are also radial cells (in the sense of community outwards) which constitute the Rays timber.

The axial cells (tracheids) are of two kinds (Fig. .27)
l) Those which are formed early in the growing season (In the original area) with thin walls, which are conductive elements tors sap.

2) Those which are formed at the end of the growing season in the final zone, thick-walled and flattened section, which are support elements, and give rigidity to the wood, resistance.

Page 10
These cells very tightly define annual layers and form the veins. External factors (the meristem) will greatly influence structure and determine the proportion of cells in spring and Cell latewood fall. These factors are altitude, the immediate environment of the tree, terrain, rainfall. It is known that the altitude (about 1,000 m) often gives to a spruce thin layers, the length of the vegetation is short. This gives General heavy timber and dense-textured said strong. Latewood cells fall are the natural frame ral of spruce in the longitudinal direction.
It is unusual to find trees whose growth has been steady over the past two or three centuries needed to
a fine tonewood. The annual layers of irregular fact that the rains have been stronger or more talented temperature one or more years. The slaughter of a nearby tree causes immedi ment extending layers of cells. This is evident when in through a board areas were denser and more stiff in places.
In the radial direction of the shaft, a multitude of wood rays whose section is very flat or lenticular, are the
"Frame" through the woods, its reinforcement "solid" (Fig. 28). The height wood rays is low, one to three tenths of a millimeter. They are composed of cells with walls of varying thickness. The rays, according to their number and thickness, appear to be conditioned radial stiffness, meaning "crooked wood" (l).
(L) In this issue, the Technical Centre for Wood consulted, responded that this assumption "was very likely."
An important comment should be so: if one takes a Clipboard perfect off-axis of the trunk of spruce is no longer wood rays in its entirety, but divided, resulting in a "softness" of this board in the direction of the beam, and a cause of huge difference in a board drawn axis at a second from another region of the tree. A deduction is also visible: When buying wood, the presence of fine mesh under the effect of shimmering light, indicating the presence of wood rays sliced with "fibers" that bypass, and therefore that we are dealing with a board drawn from the middle of the tree, which will present a rigidity "across" maximum.

Page 11
A notorious source of irregularity building mechanical spruce wood and in particular, is because very often the grain has not pushed perfectly parallel and vertical, and in the thickness of the plate are Notes ripples grain. In this case the thread is said to "slice", and it mechanical characteristics are very different from one track to another. For all the reasons previously exposed, such as when we debit timbers for dams instruments (in a single plate) we can see that the pieces cut from a particularly hard resinous, have odds of bending, mechanical properties, from one to three, ie three times stronger than a piece drawn a softer part. This lack of homogeneity is a problem that can be solved by monitoring, measuring, weighing and sometimes almost all the parts that
selects those with the capabilities sought.

These controls will - on the bending of parts,
- On their weight and tables - on the compressibility of wood through Compressibility that can be taken with a sample of a few centimeters entire width of the table just jointed. Compressibility replaces bending taken into
wooden cross, always difficult to measure. A wooden table is a highly compressible softwood cross
and flexible, soft submit reactions and risks of fatigue in the fast pulling the strings. Its accurate measurement is interesting. Device for Measuring compression. They are placed vertically, to slide the sample along a
forty centimeter wooden cross in a box whose walls the keep straight (like a bar of baker that we push
after use). Then applied to the tip a load of 10 kg centimeter square section (approx.). We read on a settlement dial gauge that must be incorporated in the device measure. The tables also will be listening percussion. center of gravity, possibly followed by an analysis of this shock laboratory (discussed later in this newsletter).

Page 12
BENDING CONCEPTS (s) and various controls

A responsible board at its center is subject to a constraint compression for the upper and traction for the part
lower. It was highest in surface fibers. There is a neutral axis in the middle.
- The distortion, curvature of parts can be calculated.
- We also found the concept of modulus or modulus Young's. This is simply the degree of rigidity of wood
determine a drop more or less pronounced.

In the invoice guitar it is very pos-bending sible to record that can be measured with some devices
simple facts by the experimenter.
Flexion Longitudinal
I - Taking one of the two boards that constitute the table evenly planed 3ypar example, we may place it in the
device (Fig. 30) so that the place will fall the axis of the fold corresponds exactly to the axis of the bridge. By applying as weighing about 500 grams, at a suitable location can be measuring the difference is with two block metal (one each side) sliding on a magnet or with a dial mounted on a support. This can be called the longitudinal bending.

Flexion Combined
II - When the table is jointed and glued, it is possible to a more comprehensive measure that gives a true indication of its flexibility stiffness or with an apparatus (Fig. 31) consists of two "molds external "thick wood dimensionally stable and whose interior is the course exact guitar.
Page 13
By placing these two "molds" on each other and keeping them very tight (with the table in the middle) using presses, it is possible by applying a weight of about eight pounds to where will be the bridge, raising the bending with a gauge of pro- depth rod and dial. This gauge will build on a pass-tural ties between the two which will fit the weight 8 kg based on an easel at the spot he occupied when the instrument is completed.
(1) See specifications for the Technical Centre of wood shelves and Computation shelving (1968).

(2) Materials Technology in Europe tool Tel 371 67 67 This will give the resultant bending of the transverse stiffness and longitudinal whole, hence its name combined flexion.

III - After the wood table comes around to different parts of dam (Fig.32) ... The deflection of each bar (or rod) can be taken very quickly by placing it on two rolls apart forty centimeters. By hanging a weight of five hundred grams were labels an "ruler adapted" the maximum deformation (it is surprising to record variations of a timber to another).

IV - With the same principle to measure the device can be fle- nection crossbars, but the distortion is small it
will use a comparator to the hundredth of a millimeter preferred ence.

V - The bending of the bridge (which happens to be a cross dam) is interesting. We thus can test a batch of these parts by making a few random measurements, or measured by a a systematic, by immobilizing a leg clamped in a small vise adapted the bridge, and hanging a weight of 1,000 grams at the end of the other leg. The movement reads easily ment with a dial-tenth of a millimeter. For easels can also encrypt their ability to gau-enrichment, a concept that is of some interest if one seeks to provide independence between the low and high side of the guitar. A bridge too thick or very hard wood moves with a single block, without flexibility.

VI - Bending the handle rough (Fig. 33) This important
Page 14
is. take when a lot of stick is only sketched, it is say with head cut and pasted heel. Holding the handle by
the tongue and heel of the palm leaf by applying a weight of 10 kg can raise the bending with a caliper adequate. This calipers can be placed on a magnetic base. It is also necessary to increase the gross weight of the handle and get a referral system with all wood used for this end.

VII - Bending the ebony fingerboard. The method used is similar to provided a number for tables (longitudinal bending). In immo- bilis one end of the button, we put a weight of 1,000 grams to a marked spot and deformation can be read with a metal straight edge, or using the comparator. It is worth mentioning that all
The documents must first be planed to the same thickness.

VIII - Dimensional stability. : On the effect of moisture in tropical or seaside some guitar seems to work
"Softly". One suspects some wooden table to be particularly larly hygroscopic. It is well known in fact that some spruce very dense and resinous deny impregnating products conservation and dip their point of saturation is much more low as 28 percent water which is the average for this timber. To get an accurate measure of the specimens must before and after turn immersed in a water tank for ten minutes and possibly up to full saturation. The investigator noted variations ranging from simple to triple and it will give preference to wood insensitive when he built for Japan and Brazil. The system is simple: a sliding stop (like a fathom) is applied on the sample. A comparator back magnet is placed behind the abutment.

IX - flexion of the neck cords relaxed and stressed strings (Fig. 34) When the instrument is completed and before the exhibit can control the behavior of the handle on the body by placing the sound guitar in a device where it rests on three points at the end of the head and on each side of the widest cash (the contact point where the head rest should be sliding not to distort the measurement). That makes it easy to place a burden
10 kg between the 12th and the 19th fret and measure the displacement with a caliper between the eleventh and the twelfth fret. When the guitar will be completely finished it will repeat the opera-
Page 15
ration with the strings stretched and there will be surprised that some are bent further when the strings are
taut, sobering about the reasons.

X - flexion of the table - Strings relaxed - String tension Without changing the guitar room is done, after measuring Previous to that concerning the flexibility of the table when the guitar is finished. The weight of 8 kg inserted between the rails Gateway (mentioned above) will be weighed on the easel placed temporarily before varnishing. We repeat the operation with the bridge glued, then with string taut and the maker can observe the movements most im- of the table when healthy, the strings on some instruments are strained. Generally the feel of the guitar will become easier if the bending of the table exceeds 2 mm and if
also reached the round figure in flexion before (digital ro IX of this topic).

A luthier advised draw many lessons from these different measures and must also weigh the raw cutting tables, then completed and the sleeves, funds, keys, ribs to rear- worm to get an instrument whose weight is in accordance with his wishes and forecasts. We hear much less the attack sounds, moving the finger
on the rope if the instrument is heavy. However there is a limit beyond which the sensitivity, spontaneity, flexibility his are altered (the margin is narrow). It seems not at all vain in the late twentieth century
to make two or three hours of measuring and control (and notations and setting file) on a total of one hundred hours work necessary to achieve a quality guitar. For the maker of fine art approach and knowledge of these
determine mechanical flexibility and a wider variety its great construction and a weapon against the "industrial factors guitar "that all changes and modifications thwart. It is not inconceivable that the great masters of the past had already developed a system of personal references secretly allowed them to go further with more bases safe. (We personally hope that these methods of control constitute the most interesting technical contribution that we can given under this test).

Page 16
A final remark is to be included in large letters:
It is impossible to make two-Ins without using similar instruments same timber.


TABLES AND DAMS
During the 17th and 18th century guitars had their tables simply reinforced by a bar placed on each side
the rose (Fig. 35). Exceptionally, and in imitation of the lute, light bar was placed between the rose and the bridge. Towards the end of the 18th century some tests appear in France. Walked up a bar at an angle between the rose and the bridge (Fig. 36) but the breakthrough for the modern guitar seems to have been made in Andalusia Cadiz in 1788 Benedit Pages in 1792 and already use an auto- tive 5-wood ribs (Fig. 37).
They have found a revolutionary bracing system that will differentiate and separate even the sound of the guitar lute, giving his character that we know.

Antonio de Torres (1817-1892) had to know the guitar Page moved on their own time and has increased the system by adding two ribs (îig.38) and wearing size 35 or 36 cm for the maximum width of his guitars that are found to 1860. By doing a little research, we can see that this dam allows both for stiffness, strength longitudinally, and more transversely flexible with less thickness. Simply paste three ribs on a long plank of softwood forty centimetres thick and twenty six tenths of a millimeter, fig. 39, to observe that it is necessary to take a board of 52 tenths thick to have the same bending strength and the same from 46 grams to 73 grams (s).
This saves considerable weight to the table allows for more spontaneous taneity in response
- More sensitivity;
- More than the maximum amplitude (more serious)
- Most of its length, since the internal friction

Page 17
are less important in a reduced thickness of the wood.

From the manner of Antonio de Torres was held low very solid and a general taste for this type of instrument that has lasted more than one hundred years. Has occurred in recent years a slight movement in opposite directions. (Keep in mind that the guitar was magnified by low since the late 16th century).
All the makers are good at instruments with serious generous ... what is difficult is to do the same guitar
Bass, midrange and treble quality.


ROLES OF DAM TABLE WELL STUDIED

l) Allow installation of a large number of vibration mode many frequencies and amplify the signal given by rich rope (the division into area, in plots of the vibrating surface, by a network of dam allows the creation of vibrational modes complexes which do not occur when the table is a simple plate wood) (2).
2) Make her beautiful, interesting and well characterized.
3) The dam must take a long time mechanically driven violate the twist produced by the strings.
4) Do not be too rigid. This would give a game a touch drive very easily. The sound is dry, lacks flexibility,
soft and serious.
5) Do not be too soft (3): this would give a big sound short, serious and dull with very easy touch, but strings
"Chatter" in the fingers and a sticky issue in the features fast, the instrument will quickly saturated with a game high.
6) The dam should not cause uncontrolled reactions in the system "-Channel Table-Strings. "
7) Optionally one can predict likely rework, repentance, after adjusting tests.
The network of dams can limit the appearance of cracks removal.

Function to build a significant piece of wood such as table, which is subjected to tension due to drying or loosening due to moisture. The importance of the network table is long dam to be determined. It is based timber implemented, and the goal, The best results are often held at the limit of resistance of wood and this makes it very precarious life of the system. The current guitars have little reserve strength on this side of the dam and not are not made to last a hundred years with the same sound.

Page 18
(1) We observe the same result if the veins are taken in the mass of the board (not glued)
(2) See in the memory of Savart. Roret reed-collection Encyclopedia Wu recently. Title: The Luthier. The author speaks from experience on vibrating plates.
(3) The bending of the table can be measured, see Chapter curls. But it's not just the dam that determines the quality of the sound. The same type of wood of the table, the vibrating plate, is very important and
will begin to color the sound, a certain quality specific individual.

Each timber, within a species, has a gift, a property that be found. It must be good at making sound very warm, soft with lots of character, but rather dark and give obscurity agreements with several sounds simultaneously. Instead another tree may have qualities of its length, from clarity, with teeth that will determine the brilliant guitar more suitable for play works by Bach, Turina than or Villa-Lobos. The guitar do not exist at all (you can ask at the same time qualities of a "brown" and a "blonde") the maker must be resolved to a
compromise, or sell more guitars to his wealthy clients ... This is the case renowned for guitarists, quite often.
With corrections can make the dam can be modified significantly and dose these different characters (and demonstrate mastery when we have the ambition).

Note
Anyway note that the vibration of the string decreases more or less rapidly for three reasons:
a) Opposition to the air resistance movements the table.
b) internal friction of the table movements (which transforms into heat energy imparted).
c) internal friction of the rope.

Wood used

Page 19
Two softwood species mainly retain the attention luthiers:

l) The European spruce (Picea Excelsa) growing around thousand feet, gives a solid wood texture.
2) The Western Canadian Red Cedar (Tuya Plicata) which grows in British Columbia near the Pacific Ocean, provides a softer wood, more fragile to shocks (Wood resilient little) but has the advantage of being more
flexible, more elastic in the lengthwise fibers that spruce. It Also a wood bit dampened.

These two species of conifers, very different from one tree to another can be:
l - Amorti or not (This means that when you hit Lightly woodblock termed "damped" sound is dull and the shock disappears very rapidly absorbed by matter. When wood is sound, "non- amortized, "the sound or shock of percussion makes a clear and long).
2 - Heavy or light.
3 - Fibrous francs or wire.
4 - strong texture (like steel) or low (as copper).
5 - The wood grain may be straight, parallel, or diagonal.
6 - Wood can be elastic or rigid.

Consider what you might expect from a wood table Cushioning, flexible and lightweight (Soft and soft).
Without correction by the dam will be very difficult to achieve clean guitar, spontaneous nerve with a full length. This is rather round and matt, dark with a short sound. Serafacile to play the guitar but quickly saturated. A heavy wooden table and very hard willingly give a hard, dry, metal with low harmonics, low. The result will lack mellow. The feel will be difficult, the sound will be stiff and insensitive. Wood "ideal" will be between the two extremes for many luthiers. We also find that some softwoods have the "fibers" well hung,
very strong (like steel). After ten years of use, we see little distortion and the sound has remained well
stamped, vigorous. Other wood of the same species have long since lost his grip and the instrument
does more than lower more or less stamped. The central part of the table being completely neutralized, forced, and "knees". It is possible to get an idea of the strength of wood deformation holding a clipboard sample bent slightly ment in the middle, both ends resting on a small cleat. After one year it releases the device and the board
Page 20
straight back or not (Fig. 4 0). We can also make a only guitar with this wood and observed after one year.
Wood fibers are parallel to the thickness of the table favorable risent good durability. When the wire is cut, diagonal, the board is not very strong in the lengthwise and large deformations occur if there was no correction
with the dam. The problem for the manufacturer who seeks to create is con-trol all the data we have just seen, and the inte-grate knowledge gradually. The artistic design of an instrument is the most with delicate control claimed by the many contradictions tions it implies. It is a perpetual choice which causes much anxieties.
Choice in choosing the instrument improves gradually as we know more wood available ... but the obstacles
are very numerous. Here is an irritating contradiction For tables, if you want a sound with a strong personality, character, wealth must take a fairly hard wood rigid in both directions, which give resonance peaks very marked. By cons otherwise it will be a timber, which give a cushioning homogeneous response, an equal volume. As it would take a whole book to deal with problems Dam and tables pose, to end this chapter inscribe Golden Rule:

"We do not get the complex rich with personal character, without a "dam" complex and personal
nel, created on a table very "choice".
This is one of the secrets.

THE BRIDGE
The bridge transmits the vibrations of the string to the table. This is the last piece we glue when building. For over a hundred years its form and structure is
Page 21
are fixed for the digital guitar for the game. The old bridge of 16.17 and 18 centuries was similar to that
the lute, a simple piece of wood, a small bar that were stuck on the fixed ropes should have been called "tailpiece" as the strings no longer passed over as a horse in thirteenth century. The current bridge for its design was created after extensive testing performed throughout Europe. Some patterns will give an idea of the main stages of its evolution. (F i g. 41). .. The French luthier Prévotte seems well placed in this collective creation since 'Before 1856 it uses an easel with the modern characters, ie the adoption of two distinct parts to its structure (fig42)
Part A - newcomer - we may call "bridge" with his saddle,
Part B - which may be called "tailpiece and is for convenience the former single bar common to lutes and guitars.

Part A is then used to define the length vibrating string with precision, and the height of his saddle by being inserted, is placed in below the rope and push up will be subjected to the table and pressure torsion
with the combination of parts A and B. Simply assemble the two parts into a single base to understand the reality practical operation. One element appears immediately comment. Plus the angle CDE (Fig. 43) is
closed over the twisting effect, the greater the pressure of the rope is strong in D. We will have low amplitudes with strong, deep and well if postmarked the table is not too rigid. It was one of the attractions of the guitar from the 1850s that became larger body which had the novelty of having low really deep, serious and tough. The luthier can vary this angle if he decided to work "Thick" for his soundboard and force it to operate by force. The current bridge is made of rosewood and weighs about 18 grams. Being a cross over the dam in the middle of the table, if you do it too rigid and cumbersome, ebony example, there is a bad result
sound. The inertia and stiffness combined remove some independence between the side and severe acute side of the instrument, cancel certain modes possible vibration of the table, then cut a series of frequencies
impoverishes the instrument timbre and equal volume. To see objectively what is the exact action of a type of bridge is necessary to produce a device described Fig. 44 • With a pull of 10 kg made on the rope with a weight there has been a distortion of the board before the easel back.

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The bridge is delivering classical deformation further to the rear of the table to the front. In reality this action may be even more pronounced if a dam is cross glued under the table close enough to the bridge.
In this case the rear of the table is subject to movements of greater amplitude and longer works as before since
bridge rests on the front of the table to oscillate more rigid and rotate slightly. When the guitar is complete, it can be verified by using two comparators arranged on each side of the bridge. When the strings are stretched it may be known how much more work and draw lessons on how (Differences range from simple to double or more). With the same device described in Fig 44 it is possible to measure and plot the deformation that gives a narrower bridge (17 mm) containing the CDE same angle and the same total height of the nut (actually the bridge without his current back or tailpiece). If the effect of torsion is locally stronger one eventually recorded in the same general deformation, or very-lege LY higher, because the effort with a small lever is more important to bring Clipboard rigid deformation similar to that given by a bridge of thirty normal millimeters wide. This compensates for this (l). The only negative aspect is that this narrow bridge likely will take off if
employee. By cons, light could be interesting for the spontaneity of the instrument, and establishing high frequencies reported by the rope. The current bridge is certainly not reached the end of its evolution. Can
achieve asymmetric bridges with the largest auctioneer serious side table, therefore larger and heavier side of the low bass that would sound, and with a narrower, thinner side acute favor the latter. Must still be able to accept this amendment by guitarists. Kasha in the U.S. even recommends the use of separate easels
for bass and treble and produced his guitars as well. One is led to thinking, but with reserve, as in this case the resonances are sympathetic reduced and the homogeneity of the instrument difficult side mediums.
The evolution continues ...

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(L) may find other views on the problem of easels in the newsletter No. 72 on the lute Charles Besnainou.

BACKGROUND - THE SIDES

General considerations - can be seen that the overall weight of the instrument has an influence
its sound. When the guitar is the sound of heavy attack from the rope (caused by the friction of finger) is less noticeable on a very light guitar, the sound is born with a different noise Matt seems very attenuated and more crystalline. The phrasing of the guitar becomes more specific in the rapid strokes. The instrument has a heavier his longest and generally the answer is better in the high registers, all is bright. To achieve this end, contemporary luthiers have used heavy wooden or given thicker parts constituting their instruments. If John Voboam in 1706 already has a very exotic wood type "Wood Violet" very fine and dense, it is our sense-by decorative device, but in the late nineteenth Pages eighth century when Andalusia uses rosewood for his money one can think he made some comments on the sound.

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Gradually the wood will be recognized as giving the best results and it should be noted that all attempts to use another were invariably abandoned. Antonio Torres has often tried the maple in the last century, Francisco Simplicio loved the Cuban mahogany in the first third of this century, Ignacio Fleta more recently made a guitar
Maple wave around 1958, and we have personally tried the Amarante Lemon tree of Ceylon, Cypress, Mahogany Cuba. It is Indian rosewood, Madagascar, Brazil, the wood gives the guitar a voice noble, sonorous, full-bodied, full and gives its quality, personality of classical guitar. These guitars are much heavier now than fifteen years ago, about than 1650 grams to 1850 grams. Guitarists very marked by the conceptions light of Antonio Torres, Manuel Ramirez, Francisco Simplicio had a lot difficult to recognize the qualities of a heavier instrument. This one was rejected and he regularly opposed the "old guitar" without which there was no possible career. This mindset has completely disappeared and concert playing on guitars over ten years are now rare.
For the construction, two extreme possibilities are reported.
1. Doing sides and a thin bottom bit crazy to give the serious, the mellow, heavy bass, attacks very audible sound and short mat and possibly a little thicker.

2. Or make a background thicker (over three hundred grams) blocked more strongly, with heavy and thick ribs that will gloss over, see a metallic timbre and a more serious long with moderates.

Splints
Their role is not negligible because the surface is vibrating substantially equal to the background. In addition, their height determines the volume the cavity resonator which is the body of the guitar, giving the "trunk" or not the instrument. The frequency of the sides is high due to their bending.

The experience of Antonio de Torres of achieving a guitar sides with cardboard (guitar in the Musée du Conservatoire Barcelona) may not have been fully interpreted by its author stated, it seems, that "only the table had an important role and that Sides were useless since they could make them the cardboard. "It is possible to say that the instrument sounded like a guitar having Cardboard sides more or less conditioned by the hard part of his answer.
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The bottom
You can give three functions

1. The dam holds back with his more or less vigorously heel the handle and prevents it from tipping in the string tension (40 to 50 kilograms).

2. The background is striped across three or four wooden bars is also a gifted multi-resonator resonance frequencies for many

3. The background is as a reflector of sound in speaker formed by the body of the instrument. It may be noted that it is more dense over its natural frequencies, modes vibration levels are high. It sounds so naturally favors the treble. Are more numerous and high bars of wood that divide into areas, more high frequencies can also find a resonance.

Resonator - This can be verified using a hollow glass tube 25 centimeters long (approximately)
5 to. 7 mm in diameter, which acts as a frequency generator. It is enough to put the tip of the tube vertically (garnished with a little peg wood) on the bottom of the guitar and tighten lightly between thumb and two fingers like a pencil, the top tube. Taking care to wet first three fingers of a little vinegar water, then made it slide three fingers along the tube with a rapid movement, which by tightening product more or less strong excitation of the "vibrating plate" of a sector determined the substance and the issuance of a particular sound, specific to this area. By moving the focal point of the tube, many frequencies appear. If the experiment is performed on a guitar strings each equipped with its sound, each frequency generated by the tube determines the appearance of resonances friendly, high harmonics produced by the strings, which can lead to think that the phenomenon is reversible and if you put a vibrating string with your finger, the signal produced with its harmonics will identify opportunities for amplification and resonance in different substantive areas of confirming him in his second role of a resonator
Page 26
versatile.
It is easy to measure at a given point of the bottom extent of its vibration is excited when one or other of the strings. The comparator hundredth of a millimeter then gives variations that can be Important: 2-3 hundredths of a millimeter for the low E and 4 to 5 / 100 for the re - by showing the preferences of the bottom at certain frequencies.

Reflector - The background is also a reflector, a "foil" in the words of some manufacturers. Indeed the sound wave produced by the inner table of releasing the rope, (a range compression) will find an area more or less rigid, more or less polished, painted on the inner part of the background and the trains of plane waves will come out or not Dampened the opening of the rose that behaves in this case as a speaker in the middle of the table, which contributes to the formation of the overall sound produced by the instrument that vibrates throughout its surface elsewhere (l). Some luthiers of the first third of this century had even imagined placing an "ear trumpet" flared inwardly, sealed around the rose below the table. This device was supposed to "collect" all the waves which were reflected on the bottom and lead more easily to the exit. This system has not been preserved and we must believe that the experience was not conclusive.

Note - The guitar vibrates all its parts but is mostly directional. A listener positioned in front of the instrument means a louder sound than put aside. We have seen that the bottom with its first bar keeps the heel of handle. This part of the bottom is caused to vibrate more intensely in leverage that produces the stick back and alternately by frequency given by the string (in diagramming the phenomenon). Can check this easily by applying the hand when the rope is shaken, this place, and then see the disappearance of one or more harmonics and their return if the hand is removed. More so than bottom is soft, slightly crossed and frequency of the bass string. These observations have led Aguado last century to develop a device called "Tripod" which allowed not to tighten and support the guitar instrumentalist and cons of leaving the guitar to vibrate freely (see cover).
(L) It is possible to visualize these waves emitted by the rose by placing a

Page 27
sheet of lightweight paper on the table, which almost completely closes the opening. In a pinch
paper string bass shudders. The lever that represents the handle with his heel, still produces a direct action
on the merits when he crossed low and soft and it tends alternately in the bottom momentum of the string that vibrates. Each belly that made the rope is a voltage at its ends leading to elongation of the bottom if it is curved, which tends then flatten. For a low E note, 80 Hz or so, we shall have one hundred and sixty movements this type per second that will produce a vibration an octave above the fundamental, resulting in a harmonic "two" very strong, that we see on guitars thin base. Theoretically, if also the part of the table in front of the bridge (s) is biased by the same womb and the same surge that operating the vibrating string, the inward movement of the guitar at the same time will create a movement opposite to that of the bottom which lowers its side. The two movements combined will establish a train of waves of strong harmonic amplitudes giving two more stronger and therefore much of the serious stamped deep. But if it's part of the table behind the easel is the most active, its outward shift will be offset by the movement of background inward and both movements will eventually vanish, which may explain the presence of evil stamped on bass guitars, light structural thin should have no impairment of that side. In reality all situations vibration are possible overlap and, the pitch of the note, accommodate themselves more or less of their resonator where sense of uniformity and equal level satisfactory or not. Among the various problems that are available to guitar maker, at the handle, table, from the bottom, sides and good understanding of all these pieces coupled together them, many years of observations are necessary and the situations are always complex and contradictory often, but when the answers are on track training, the experimental exporter and manufacturer draws satisfaction. Satisfactions limited because as we control and we appear ahead of other problems. To provide some answers about the specific background and

Page 28
sides we have produced and recorded a series of experiments. (L) The bridge, according to the network of the dam within the table can ask for more side front or back side of the table where it is located. Description of experience (and comments luthier). We have purpose built a guitar whose bottom was cons-curved and molded plywood into three layers (three layers), two thicknesses rosewood veneer around a cons-thick veneer of ten eight-tenths of a millimeter. The total thickness was twenty eight tenths of a millimeter. The maximum height of the vault was nineteen millimeters, weight of 272 gr. This fund does not include dam and the experience was number one.

Experiment 1
This guitar was easy to play because of the extreme flexibility of the bottom, It was equipped with heavy bass caused by low frequency of the background as a resonator, whose movements, stretched by the action of the handle and the heel, also gave the serious well. Cons by the midrange and highs were not stamped and uninteresting, with little uniformity in tone and volume. The last three notes were acute poor on the treble.

Experiment 2
On the same guitar it completely closes the rose with a buffer rubber foam. The instrument emits only part of his usual, the table is constrained in his movements by air trapped inside, which tends to couple the background with the table, the sound is very short, very cushioned, very cloudy, cold meager.

Experiment 3
The rose is made free practice is an opening in the background similar to that of the rose (87 millimeters) in the middle of the widest point. The bass then completely lose their timbre initially sound becomes flat and poor in general. The vibration mode of the background is changed due to the opening. Part of his past behind and disperses (The instrument is less directional), the air volume of the body loses its role, the rose emits very little appears there.

Page 29
Experiment 4
It recorks rose by keeping only the bottom opening. The guitar works better, the "speaker" emits from behind the series compression, low frequency of the cavity, which works better. Treble seem to suffer less.

Experiment 5
It removes the first background and pasted it is replaced by a bottom very heavy (and blocked three bars of mahogany), consisting of two layers glued wood different. The first rosewood weighing 280 grams, the second weighing 155 grams mahogany and placed on top, making a total weight of 435 gr without dams. The guitar weighs in working gr 1920 The sound is dry, inflexible, lacking rich but soft, the game is difficult because the neck is completely immobilized by the thick base and struck out. Action Direct heel stick that seeks to stretch and stretch the bottom is slightly curved void because of its rigidity. The latter, as a resonator, promotes frequencies high.

Experiment 6
The thickness of mahogany surface is planed across the wide part of the background (Fig. 45) which is 90 grams less wood. On a total weight of 1830 grams for the guitar. The sound is better, the softness appears
touch seems easier. The normal background of purple, freed a sur-thick mahogany in its wide part, promotes re-lower frequencies and gives a stamp more interesting and warmer. The balance between bass and treble is good. This is the best result whole series of tests but the last three notes are always wrong stamped and weak.

Experience 7
The remainder of the bottom is planed mahogany on the narrow part of the bottom (F ig. 45) The guitar weighs 1765 grams with a simple background of rosewood India of 280 grams (with its three bars of mahogany and more). The sound becomes more round but thicker and doughy, less clear less crystalline. The bass is dark, the chanterelle unequal, the three
Page 30
always last notes faded. The bottom works even better in the bass frequencies and sound
was overshadowed by one degree more. The handle is much more free move under the action of the strings, the thickness of the bottom being thinner at the heel of the latter.

Experiment 8
The normal background of Rosewood is carefully removed and the sides are halved in height. Then adjusted to the new background removed; it glues together and it gives the guitar a very flat 6 cm thick. The sound is rather thin on the whole, clear and biting. The bass is thin, shallow (but the last three notes of the treble
are better) the lack of bass gives a feeling of dryness in direct listening. The volume of the cavity of the body sound is reduced by half, the instrument has lost one of its major components and has no "safe" The eigen frequencies splints are much higher, they vibrate obviously higher strengthening shrill. The background is rather passive in the bass frequencies, the action of the heel sleeve is minimal because of its small size (the "lever" movement operates very small).

[Puff]

David not knowing what platform you are using makes the following possibly a bit vague and in need of translation for Windows but I seem to remember a similiar option.

On Mac I cut and paste to a text edit doc (RTF) Text Edit.
Next is to go through and in a separate pane/notepad ... make a note of all the bits that need altering such as "table" to "top",
"rope" to "string" etc...
Reopen and go FIND to "table", select CHANGE ALL and insert "top" as the respell option. Go through the whole list
I used this method to edit a couple of older philosophical publications and it (eventually) worked but I kept finding rogue antiquities for quite a few rereads. Just takes time and patience.
For some words you may have to go back to the original doc and reapply the translator and go through the options it throws up - like a thesaurus.

[schrammguitars]

Thanks, but I already did that. Still needs work. I did it a paragraph at a time. The above is the results.

[matthew]

a professional translator will charge $50 per 100 words to get it perfect. I think that the google translatr is remarkably good for a machine. but grammar will always be all over the place.

"Or make a background thicker (over three hundred grams) blocked more strongly, with heavy and thick ribs that will gloss over, see a metallic timbre and a more serious long with moderates."

the actual text means:

"Or, make the back thicker (over 300g) braced more strongly, with heavy, thick ribs, giving a brighter - almost metallic - tone, with greater sustain and moderate bass response."

Just changing single words like "table" to "top" won't really help the sense of the article much IMO.

I have a french/english luthier lexicon on my website http://bresque.studio205.net.au/worksho ... du-luthier

If there are any specific phrases or words that don't make sense I am happy to give you my translation from the original.

eg: "splints" is how google translates "eclisses" but in actual fact this means "ribs".

[matthew]

"page 27
sheet of lightweight paper on the table, which almost completely closes the opening. In a pinch
paper string bass shudders. The lever that represents the handle with his heel, still produces a direct action
on the merits when he crossed low and soft and it tends alternately in the bottom momentum of the string that vibrates. Each belly that made the rope is a voltage at its ends leading to elongation of the bottom if it is curved, which tends then flatten."

my version:

"[...] When a bass string is plucked, the paper vibrates.

The lever formed by the neck and heel produces a direct action on the back when it is lightly braced and flexible. The energy of the vibrating string flexes the back, back and forth. Every peak (think sine wave) that the string makes corresponds to increased tension at its ends, which causes an elongation of the back and which - if arched - tends to flatten the arch."

cmon google you can do better than that ... can't you?

[schrammguitars]

Much better translation!
Do you have this complete article translated?

[matthew]

Hell no, I did that word by word!