Classical guitar making

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This article is about the Classical guitar making, the Classical guitar strings and the Classical guitar accessories.

Contents

[edit] History

[edit] Contemporary classical guitar making

The basis of most modern classical guitar designs was developed by Spanish luthier Antonio Torres in the mid 1800s. Earlier guitars were highly decorated, which took away from the tonal quality of those instruments. They were also uncomfortable to play due to their heavy construction. Torres simplified these instruments, and used lighter materials for construction. Perhaps his most influential modification was the addition of bracings, which were wooden strips glued inside the body to provide support and resonance. Torres' guitars were louder and better sounding than earlier guitars, and many luthiers assimilated his ideas into their own guitars.

The designs Torres developed were later adapted by two very influential luthiers; Herman Hauser (1882-1952) and Ignacio Fleta (1897-1977). Today, luthiers utilize the ideas and designs of Torres, Hauser, and Fleta in their own guitars. They often develop their own system of bracing to create a unique tone quality, and some also offer cutaway, acoustic electric and composite top models.

For years, Brazilian rosewood was the industry standard as the best wood for the backs and sides of guitars. Unfortunately, the export of Brazilian rosewood has been restricted due to the endangerment of the species. Much of the Brazilian rosewood used for guitars is of poor quality, and the inflated price of the wood has caused many luthiers to search for alternative tonewoods. Most guitars made today use East Indian rosewood beause it is a cheap substitutes for Brazilian rosewood, and still has desirable qualities. Cocobolo, maple, Bubinga (African rosewood), and ebony are other popular choices for backs and sides. This shift from Brazilian rosewood has allowed luthiers to explore the tonal qualities of different woods.

[edit] Double-top, sandwich-top and composite-top

The terms double-top, sandwich-top, and composite-top all refer to a relatively new way to construct the soundboard of a guitar. Composite tops are built by luthiers like Matthias Dammann and Gernot Wagner. A double top often consists of a material called nomex which is sandwiched by two thin pieces of tonewood. Nomex® was originally designed by DuPont Chemical Co. to be a lightweight material for use in the aviation industry, but many luthiers have found nomex to possess desirable acoustic qualities, and have designed double top guitars. Though the construction of a double top significantly differs from the traditional soundboard, a double top guitar looks just like a traditional guitar.

[edit] Finger board

Improvement of intonation and playability

[edit] Elevated fingerboard

Some guitar makers like the French Antoine Pappalardo and the Canadian Fritz Mueller make Elevated fingerboard. The primary advantage is to improve left hand playability on the upper frets, although the increased distance between the strings and the top is also advantageous for the right hand. The elevated fingerboard is visually unobtrusive from the front, and the instrument retains its traditional appearance.

[edit] Curved fingerboard

Some guitar makers like the French Antoine Pappalardo make a Curved fingerboard to improve the playability.

[edit] High frets

High frets facilitate vibrato and barreing, and generally aid in the development of a “lighter” left hand.

[edit] Fanned fret

The seventeenth century brass strung instruments, Orpharion and Bandora are an early example of asymmetrical frets.

Makers:

Players:

The fanned fretboard is patented in the USA by Ralph Novak ($75 for each instrument). But the patent isn't enforced if the guitar is built outside of the united states. The patent fee only has to be paid if it is going to be sold in the USA.

[edit] Bibliography

  • [[3]] Transcript of Ralph Novak’s Lecture on Scale Length and Tone to the 1995 G.A.L. Convention From American Lutherie, published quarterly by the Guild of American Luthiers.
  • [[4]] Introducing the Brahms Guitar, Paul Galbraith, July 1996

[edit] External link

[edit] Armrest

Some guitar makers, like Greg Smallman propose an armrest integrated to the guitar. An armrest provides three primary benefits: it lessens damping of the top caused by the right forearm; it is potentially more comfortable for the player; and it absorbs the wear to the finish that would otherwise happen on the top, the binding, and the side. These benefits are of particular importance for ultra-thin-topped instruments, such as Smallman’s, but will subtly improve any guitar, including double-tops.

[edit] Classical guitar makers

Main article: List of classical guitar makers

[edit] Classical guitar strings

Main article: Classical guitar strings

[edit] Classical guitar accessories

Main article: Classical guitar accessories

[edit] External links

  • Guild of American Luthiers. Non-profit educational membership organization, formed to advance the craft of string instrument making and repair through a free exchange of information.
  • [5] Luthiers Mercantile International, Inc. Wood, Supplies & Tools for the Guitar Builder.


This article is part of the Classical guitar series
Classical guitar Portal | Classical guitar | History of the classical guitar | Classical guitar making | Classical guitar repertoire | Classical guitar pedagogy | Classical guitarists | International classical guitar competitions | Research on the classical guitar | Classical guitar societies
Related articles:
Main article about guitar | Main article about luthier | Physics of the guitar
Articles in this series | Classical guitar project in Wikipedia | Edit this box
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