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Lattice Braced Concert Guitar Plan
Ref: 11646
Últimas unidades
Size: A-2 (420 x 594mm)Scale: 1:1Dimensions : In millimeters Quantity: 4 sheetsSheet One: Head, Rosette, Bridge, Heel Sheet Two: Soundboard viewed insideSheet Three: Fingerboard, neck, Section through centre of bodySheet Four: Notes By for: Roy CourtnallDescription: There are many ways of designing the interior and the plate thicknesses of the classical guitar. Conventional wisdom viewed the sound box as a single element, made from various species of wood, that all vibrate when activated by the plucked string; - this multitude of vibrations contributes to the overall timbre and projection of sound produced by the sound box. There are many advantages to this approach, but one of the problems is that some of the energy produced by the plucked string is lost as it moves into the sides, back, neck and even the body of the guitarist.
There are many variations on this 'lattice' approach, the most extreme sometimes being criticised for being too 'banjo'-like, with a piercing sound but little sustain and a loss of the traditional warmth of the Spanish classical guitar sound. With careful use of wood, thicknesses and interior support, it is possible to create a guitar with a traditional 'guitar sound', at the same time having greater projection, with good balance across the bass, mid and treble ranges, and simply being a greater pleasure to play.
This type of guitar is more demanding to make, as it involves many more steps in the construction process, and bringing the soundboard down to the membrane-like thickness required, takes great control of tools and materials.
Reference
11646
In stock
3 Items
Data sheet
Type of Tool: TemplateType of Work: Instrument Building
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<ul>\n
<li><strong>Size:</strong> A-2 (420 x 594mm)</li>\n
<li><strong>Scale:</strong> 1:1</li>\n
<li><strong>Dimensions</strong>: I<span>n millimeters</span></li>\n
<li><strong>Quantity:</strong> 3 sheets</li>\n
<li><strong>Sheet One:</strong> Head, Rosette, Bridge, Heel </li>\n
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<li><strong>Sheet Three: </strong>Fingerboard, neck, Section through centre of body </li>\n
<li><strong>By for:</strong> Roy Courtnall</li>\n
<li><strong>Description:</strong> Marcelo Barbero was one of the leading makers of flamenco guitars, and he trained with Jose Ramirez II. After the death of Santos Hernandez, Barbero worked for Hernandez' widow, Mathilda Ruiz, in order to complete orders that had already been commissioned. This experience gave him a unique insight into the tools and working methods of the great Santos Hernandez - perhaps this was at least a partial influence on Barbero, whose flamenco guitars are still today regarded as some of the finest ever made. The plan here is presented on three sheets of A2 paper, and gives all measurements with full size drawings from which a close replica can be made. Ideal for those wishing to build a flamenco guitar, perhaps together with the other great flamenco maker, Santos Hernandez, whose guitar plans is also available here.</li>\n
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<h2><strong>Templates and Mould Viola Guarneri Conte Vitale</strong></h2>\n
<p>This set is designed to provide a precise and durable working base. It includes all the templates required to trace the full instrument: outer and inner outlines, archings, corners, f-holes, and neck. The parts are cut from <strong>2 mm rigid transparent acrylic</strong>, <strong>3 mm and 12 mm MDF</strong>, and <strong>1 mm flexible styrene</strong>, materials stable enough for regular workshop use. The set also includes <strong>steel pins</strong> for the inner mould, ensuring rigidity and <strong>layout consistency</strong>.</p>\n
<p><strong>The kit includes:</strong></p>\n
<ul>\n
<li>1 Inner mould – MDF 12 mm – rigid</li>\n
<li>1 Outer template – acrylic 2 mm – rigid</li>\n
<li>1 Inner template – acrylic 2 mm – rigid</li>\n
<li>8 Arching templates – MDF 3 mm – rigid</li>\n
<li>2 Corner templates – MDF 3 mm – rigid</li>\n
<li>1 Neck template – acrylic 2 mm – flexible</li>\n
<li>1 F-hole template – styrene 1 mm – flexible</li>\n
<li>2 Pins – steel</li>\n
</ul>\n
<p>Based on the <strong>Guarneri “Conte Vitale”</strong> model, a viola built in 1676 by Andrea Guarneri, highly valued for its balance of size, tone and comfort. Its generous outline and a back length close to 41 cm have served as reference for generations of luthiers.</p>\n
<p>We also offer templates for other historical viola models. To check availability, contact our team at <a href="mailto:comercial1@maderas-barber.com">comercial1@maderas-barber.com</a>. Available models include:</p>\n
<ul>\n
<li>Guarneri “Conte Vitale” – 1676</li>\n
<li>Gasparo da Salò – ca. 1580</li>\n
<li>Stradivari – ca. 1672</li>\n
<li>Amati – ca. 1620</li>\n
<li>Guadagnini – Parma, 18th century</li>\n
</ul>\n
<p>* The photographs shown are for illustrative purposes only. The set you will receive is specifically for the Guarneri Conte Vitale model.</p>\n
<h2><strong>Technical Specifications</strong></h2>\n
<ul>\n
<li><strong>Instrument</strong>: Viola</li>\n
<li><strong>Model</strong>: Guarneri “Conte Vitale”</li>\n
<li><strong>Material</strong>: Transparent acrylic, MDF and styrene</li>\n
<li><strong>Mould</strong>: “Conte Vitale” model</li>\n
<li><strong>Pins</strong>: Steel</li>\n
</ul>
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<ul>\n
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<li><strong>Scale:</strong> 1:1</li>\n
<li><strong>Dimensions</strong>: I<span>n millimeters</span></li>\n
<li><strong>Quantity:</strong> 4 sheets</li>\n
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<li><strong>Sheet Two:</strong> Soundboard viewed inside</li>\n
<li><strong>Sheet Three: </strong>Desings 2<strong> </strong>Soundboard viewed inside</li>\n
<li><strong>Sheet Four: </strong>Fingerboard, neck, Section through centre of body</li>\n
<li><strong>By for:</strong> Roy Courtnall</li>\n
<li><strong>Description:</strong> Examples of guitars with double sound holes were made early in the 20th century, notably by the Spanish luthier Francisco Simplicio, who was born in Barcelona in 1874. Simplicio used a variation of traditional strutting. Contemporary makers have experimented with different strutting designs, within the parameters of the larger soundboard area achieved by moving the sound holes towards the upper section of the guitar. The lattice strutting design shown here produces a guitar with exceptional volume, projection and sustain. The plans offered here show both a double semi-circular design and a double circular sound hole design.</li>\n
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<li><strong>Sheet Three: </strong>Fingerboard, neck, Section through centre of body </li>\n
<li><strong>By for:</strong> Roy Courtnall</li>\n
<li><strong>Description:</strong> Build a 10 string classical guitar: The ten string guitar was developed in the 1960s by Narciso Yepes who worked with luthier Jose Ramirez to produce a very successful design, and in 1963 Narciso Yepes performed the Concierto de Aranjuez with the Berlin Philharmonic Orchestra, using the ten-string guitar he had invented in collaboration with José Ramírez III, with a tuning designed to supply sympathetic string resonance to all twelve notes of the chromatic scale, in unison with any note played on the treble strings. This plan shows in great detail the Yepes style of ten string guitar. From 1963 for the rest of his life, Yepes used only the ten-string guitar in recording and performance. The availability of high-quality ten-string classical guitars from the Ramírez Company allowed and encouraged other performers to investigate the instrument. Six-string guitar music can be played on the first six strings, but with added resonance from the extra strings. This was Yepes' original intention and the reason for the design. Music specifically arranged for the instrument can make use of the extra strings directly, thus: Music originally written for instruments with more than six strings can be more faithfully transcribed. Music written by Bach and his contemporaries for lute is of particular interest in this regard. The bass strings can be appropriately tuned.</li>\n
</ul>
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<li><strong>By for:</strong> Roy Courtnall</li>\n
<li><strong>Description:</strong> Manuel Ramirez was born in Alhama in 1864. His elder brother, José, taught him how to make guitars and at the age of 27, in 1891, he set up on his own. Manuel became one of the most successful guitar makers of his time, winning medals at various exhibitions for the superb quality of his guitars. In addition to standard classical Spanish guitars, he also produced eleven-string instruments. Segovia was very impressed with Ramirez guitars and played them on many occasions. Many influences of Hermann Hauser can be seen in his guitars, and the Ramirez plans provided here should produce a powerful concert-standard guitar.</li>\n
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<li><strong>By for:</strong> Roy Courtnall</li>\n
<li><strong>Description:</strong> There are many ways of designing the interior and the plate thicknesses of the classical guitar. Conventional wisdom viewed the sound box as a single element, made from various species of wood, that all vibrate when activated by the plucked string; - this multitude of vibrations contributes to the overall timbre and projection of sound produced by the sound box. There are many advantages to this approach, but one of the problems is that some of the energy produced by the plucked string is lost as it moves into the sides, back, neck and even the body of the guitarist.\n
<p>There are many variations on this 'lattice' approach, the most extreme sometimes being criticised for being too 'banjo'-like, with a piercing sound but little sustain and a loss of the traditional warmth of the Spanish classical guitar sound. With careful use of wood, thicknesses and interior support, it is possible to create a guitar with a traditional 'guitar sound', at the same time having greater projection, with good balance across the bass, mid and treble ranges, and simply being a greater pleasure to play.</p>\n
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<span>Grade </span>\n
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<span >\n
<strong >Ugo C</strong><br/>\n
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<em>05/13/2024</em>\n
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<h4 class="title_block" >Casa-Liutaiu</h4>\n
<p >Plan Ok, y à plus qu'à...</p>\n
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<p class="product_name"><strong>Lattice Braced Concert Guitar Plan</strong></p>\n
<ul>\n
<li><strong>Size:</strong> A-2 (420 x 594mm)</li>\n
<li><strong>Scale:</strong> 1:1</li>\n
<li><strong>Dimensions</strong>: I<span>n millimeters</span></li>\n
<li><strong>Quantity:</strong> 4 sheets</li>\n
<li><strong>Sheet One:</strong> Head, Rosette, Bridge, Heel </li>\n
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<li><strong>Sheet Three: </strong>Fingerboard, neck, Section through centre of body</li>\n
<li><strong>Sheet Four: </strong>Notes </li>\n
<li><strong>By for:</strong> Roy Courtnall</li>\n
<li><strong>Description:</strong> There are many ways of designing the interior and the plate thicknesses of the classical guitar. Conventional wisdom viewed the sound box as a single element, made from various species of wood, that all vibrate when activated by the plucked string; - this multitude of vibrations contributes to the overall timbre and projection of sound produced by the sound box. There are many advantages to this approach, but one of the problems is that some of the energy produced by the plucked string is lost as it moves into the sides, back, neck and even the body of the guitarist.\n
<p>There are many variations on this 'lattice' approach, the most extreme sometimes being criticised for being too 'banjo'-like, with a piercing sound but little sustain and a loss of the traditional warmth of the Spanish classical guitar sound. With careful use of wood, thicknesses and interior support, it is possible to create a guitar with a traditional 'guitar sound', at the same time having greater projection, with good balance across the bass, mid and treble ranges, and simply being a greater pleasure to play.</p>\n
<p>This type of guitar is more demanding to make, as it involves many more steps in the construction process, and bringing the soundboard down to the membrane-like thickness required, takes great control of tools and materials.</p>\n
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<h2><strong>Templates and Mould Violin Stradivarius Titian 1715</strong></h2>\n
<p>This set is designed to provide a precise and durable working base. It includes all the necessary templates to trace the full instrument: outer and inner outlines, archings, corners, f-holes and neck. The pieces are cut from <strong>2 mm rigid transparent acrylic</strong>, <strong>3 mm and 12 mm MDF</strong>, and <strong>1 mm flexible styrene</strong>—stable materials that hold up well to frequent use in the workshop. The set includes <strong>steel pins</strong> for the inner mould, ensuring rigidity and <strong>consistency in layout</strong>.</p>\n
<p><strong>The kit includes:</strong></p>\n
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<li>1 Inner mould – MDF 12 mm – rigid</li>\n
<li>1 Outer template – acrylic 2 mm – rigid</li>\n
<li>1 Inner template – acrylic 2 mm – rigid</li>\n
<li>8 Arching templates – MDF 3 mm – rigid</li>\n
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<li>1 Neck template – acrylic 2 mm – flexible</li>\n
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<p>This set corresponds to the <strong>Stradivarius “Titian” 1715</strong> model, one of the most balanced designs from the golden period. It’s based on the <strong>“P” mould</strong>, with a compact outline that many luthiers consider a solid starting point for achieving clarity and tonal response.</p>\n
<p>We also offer templates for other historical violin models. To check availability, contact our team at <a href="mailto:comercial1@maderas-barber.com"><strong>comercial1@maderas-barber.com</strong></a>. Available models include:</p>\n
<ul>\n
<li>Giovanni Paolo Maggini – Violin 1630</li>\n
<li>Carlo Giuseppe Testore – Violin 1703</li>\n
<li>Pietro Guarneri of Mantua – Violin 1704</li>\n
<li>Antonio Stradivari – Violin 1709 “Viotti”</li>\n
<li>Antonio Stradivari – Violin 1727 “Benvenuti”</li>\n
<li>Antonio Stradivari – Violin 1734 “Willemotte”</li>\n
<li>Carlo Bergonzi – Violin 1735 “Baron Knoop”</li>\n
<li>Guarneri del Gesù – Violin 1735 “Plowden”</li>\n
<li>Guarneri del Gesù – Violin 1741 “Vieuxtemps”</li>\n
<li>Guarneri del Gesù – Violin 1741 “Kochánski”</li>\n
<li>Guarneri del Gesù – Violin 1745 “Leduc”</li>\n
<li>Giovanni Battista Guadagnini – Violin 1774 “Salabue”, “Berta”</li>\n
</ul>\n
<p>* The photographs shown are for illustrative purposes only. The set you will receive is specifically for the Stradivarius Titian 1715 model.</p>\n
<h2><strong>Technical Specifications</strong></h2>\n
<ul>\n
<li><strong>Instrument</strong>: Violin</li>\n
<li><strong>Model</strong>: Stradivarius “Titian” 1715</li>\n
<li><strong>Material</strong>: Transparent acrylic, MDF and styrene</li>\n
<li><strong>Mould</strong>: “P” model</li>\n
<li><strong>Pins</strong>: Steel</li>\n
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<h2><strong>Templates and Mould Violin Guarneri Cannone 1743</strong></h2>\n
<p>This set is designed to provide a precise and durable working base. It includes all the templates required to outline the entire instrument: outer and inner contours, archings, corners, f-holes, and neck. The pieces are cut from <strong>2 mm rigid transparent acrylic</strong>, <strong>3 mm and 12 mm MDF</strong>, and <strong>1 mm flexible styrene</strong>—stable materials suited to regular workshop use. The set includes <strong>steel pins</strong> to secure the inner mould, ensuring rigidity and <strong>consistency in layout</strong>.</p>\n
<p><strong>The kit includes:</strong></p>\n
<ul>\n
<li>1 Inner mould – MDF 12 mm – rigid</li>\n
<li>1 Outer template – acrylic 2 mm – rigid</li>\n
<li>1 Inner template – acrylic 2 mm – rigid</li>\n
<li>8 Arching templates – MDF 3 mm – rigid</li>\n
<li>2 Corner templates – MDF 3 mm – rigid</li>\n
<li>1 Neck template – acrylic 2 mm – flexible</li>\n
<li>1 F-hole template – styrene 1 mm – flexible</li>\n
<li>2 Pins – steel</li>\n
</ul>\n
<p>This set is based on the <strong>Guarneri del Gesù “Il Cannone” 1743</strong> model, famously played by Niccolò Paganini. It features a slightly shorter and deeper body, along with a noticeably curved neck—elements that contribute to its powerful and resonant tone.</p>\n
<p>We also offer templates for other historic violin models. To check availability, contact our team at <a href="mailto:comercial1@maderas-barber.com">comercial1@maderas-barber.com</a>. Available models include:</p>\n
<ul>\n
<li>Giovanni Paolo Maggini – Violin 1630</li>\n
<li>Carlo Giuseppe Testore – Violin 1703</li>\n
<li>Pietro Guarneri of Mantua – Violin 1704</li>\n
<li>Antonio Stradivari – Violin 1709 “Viotti”</li>\n
<li>Antonio Stradivari – Violin 1727 “Benvenuti”</li>\n
<li>Antonio Stradivari – Violin 1734 “Willemotte”</li>\n
<li>Carlo Bergonzi – Violin 1735 “Baron Knoop”</li>\n
<li>Guarneri del Gesù – Violin 1735 “Plowden”</li>\n
<li>Guarneri del Gesù – Violin 1741 “Vieuxtemps”</li>\n
<li>Guarneri del Gesù – Violin 1741 “Kochánski”</li>\n
<li>Guarneri del Gesù – Violin 1745 “Leduc”</li>\n
<li>Giovanni Battista Guadagnini – Violin 1774 “Salabue”, “Berta”</li>\n
</ul>\n
<p>* The photographs shown are for illustrative purposes only. The set you will receive is specifically designed for the Guarneri Cannone 1743 model.</p>\n
<h2><strong>Technical Specifications</strong></h2>\n
<ul>\n
<li><strong>Instrument</strong>: Violin</li>\n
<li><strong>Model</strong>: Guarneri del Gesù “Il Cannone” 1743</li>\n
<li><strong>Material</strong>: Transparent acrylic, MDF and styrene</li>\n
<li><strong>Mould</strong>: “Cannone” model</li>\n
<li><strong>Pins</strong>: Steel</li>\n
</ul>
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<h2>Graphgear 500 Precision Mechanical Pencil General Description:</h2>\n
<p>The Graphgear 500 precision mechanical pencil is a <strong>tool for drawing and writing with precision.</strong> Its 4mm long tip design is perfect for luthiers like you who need to work with rulers and stencils.</p>\n
<p>The metal mesh grip on a slim, beveled body gives you <strong>excellent control of the mechanical pencil and great comfort during use</strong>. In addition, its fingertip weight makes it easy for you to <strong>work accurately on drawings and stencils.</strong></p>\n
<p>The <strong>Graphgear 500 comes preloaded with Pentel Super Hi-Polymer 0.5mm HB lead,</strong> which is durable and does not need to be sharpened, producing a sharp, dark line.</p>
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<h2><strong>Templates and Mould Set Cello Stradivarius Davidov 1712</strong></h2>\n
<p>This set is designed to help trace the <strong>Stradivarius “Davidov” 1712</strong> cello model, one of the Cremonese master’s most admired works. It includes all the necessary templates to accurately reproduce the instrument’s outline, archings, corners, neck, and f-holes, as well as the <strong>internal mould</strong>.</p>\n
<p>Parts are made of <strong>2 mm rigid transparent acrylic</strong>, <strong>3 mm and 12 mm MDF</strong>, and <strong>1 mm flexible styrene</strong>—durable and reliable materials for workshop use.</p>\n
<p><strong>The set includes:</strong></p>\n
<ul>\n
<li>1 Inner mould – MDF 12 mm – rigid</li>\n
<li>1 Outer template – acrylic 2 mm – rigid</li>\n
<li>1 Inner template – acrylic 2 mm – rigid</li>\n
<li>8 Arching templates – MDF 3 mm – rigid</li>\n
<li>2 Corner templates – MDF 3 mm – rigid</li>\n
<li>1 Neck template – acrylic 2 mm – flexible</li>\n
<li>1 F-hole template – styrene 1 mm – flexible</li>\n
<li>2 Pins – steel</li>\n
</ul>\n
<p>We also offer templates and moulds for other historical cello models. Contact us at <a href="mailto:comercial1@maderas-barber.com"><strong>comercial1@maderas-barber.com</strong></a> for availability. Available models:</p>\n
<ul>\n
<li>Stradivarius “Davidov” – 1712</li>\n
<li>Montagnana “Sleeping Beauty” – ca. 1749</li>\n
<li>Guarneri “Piatti” – 1710</li>\n
<li>Amati – ca. 1620</li>\n
</ul>\n
<p>* The photographs shown are for illustrative purposes only. The set you will receive is specifically for the Stradivarius Davidov 1712 model.</p>\n
<h2><strong>Technical Specifications</strong></h2>\n
<ul>\n
<li><strong>Instrument</strong>: Cello</li>\n
<li><strong>Model</strong>: Stradivarius “Davidov” 1712</li>\n
<li><strong>Material</strong>: Transparent acrylic, MDF and styrene</li>\n
<li><strong>Mould</strong>: “Davidov” model</li>\n
<li><strong>Pins</strong>: Steel</li>\n
</ul>
"""
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<ul>\n
<li><strong>Size:</strong> A-2 (420 x 594mm)</li>\n
<li><strong>Scale:</strong> 1:1</li>\n
<li><strong>Dimensions</strong>: I<span>n millimeters</span></li>\n
<li><strong>Quantity:</strong> 3 sheets</li>\n
<li><strong>Sheet One:</strong> Head, Rosette, Bridge, Heel </li>\n
<li><strong>Sheet Two:</strong> Soundboard viewed inside</li>\n
<li><strong>Sheet Three: </strong>Fingerboard, neck, Section through centre of body </li>\n
<li><strong>By for:</strong> Roy Courtnall</li>\n
<li><strong>Description:</strong> Torres is rightly seen as the founder of the modern Spanish classical guitar, and many experienced luthiers today still continue to make their guitars closely following the designs established by Torres in about 1850. This plan is also very suitable for someone making their first guitar, because it introduces the new maker to the basic design from which almost all later innovations have arisen.\n
<p><span lang="en-us" xml:lang="en-us">Before Torres, most guitars were fairly small, and not much thought had been given to the best method of bracing the top. Torres established a new strutting pattern of seven fan struts and two closing bars, which gave his soundboards the support they needed, at the same time allowing the wood to vibrate enough to produce a balanced sound.</span></p>\n
<p></p>\n
<p><span lang="en-us" xml:lang="en-us">He also established an elegantly shaped guitar which, although smaller than some modern concert guitars, is very beautiful to look at. It is an ideal starting place for the modern guitar maker.</span></p>\n
<p></p>\n
</li>\n
</ul>
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<li><strong>By for:</strong> Roy Courtnall</li>\n
<li><strong>Description:</strong> <span lang="en-us" xml:lang="en-us">From the early 1950s Hofner set the benchmark for Archtop guitar design and manufacture.Many famous models were developed, such as the Senator, President and Golden Hofner, all of which are now collectors items.This is is full size, detailed plan from which to build the guitar, which is a single cut-away design.It is based on a 1960 Hofner archtop jazz guitar</span></li>\n
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<li><strong>By for:</strong> Roy Courtnall</li>\n
<li><strong>Description:</strong> Daniel Friederich is the most famous French guitar maker of the last three or four decades - he followed on in the tradition of French guitars makers started by Robert Bouchet. Friederich guitars are now played all over the world by many of the best professional guitarists.Friederich's craftsmanship is superb, with each instrument being a masterpiece of tone and craftsmanship. He has developed several innovative strutting systems, some of which include a "bridge bar" - an idea also used by Robert Bouchet. But in Friederich's case, he has refined the dimensions of the struts and plate thicknesses to give consistently excellent results. Friederich also tests with great care, the quality of all the wood he uses, in order to calculate precisely how strong or flexible a particular piece is. This then helps him decide on the optimum dimensions for that component.The plan available here is one of his most successful designs, and enables the more advanced guitar maker to study the sophisticated design of one of the greatest master guitar makers of recent times.</li>\n
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<li><strong>Sheet Four: </strong>Fingerboard, neck, Section through centre of body</li>\n
<li><strong>By for:</strong> Roy Courtnall</li>\n
<li><strong>Description:</strong> Manuel Hernandez and Victoriano Aguado were one of the most successful guitar making partnerships of the 20th century. They worked in Madrid, where they developed their own particular guitar designs that proved extremely popular with players. Some musicians like their guitars precisely because they seem to lack a strong personality - this makes it easier for the player to put his or her own character into the music (in contrast, for example, with a Fleta, which sometimes appears to sound "like a Fleta" whoever is playing on it).These makers used various strutting designs, and the plans available here include two different designs; the first uses five fan struts and closing bars; the second uses six fan struts, two closing bars, and a long diagonal strut that cuts across the treble side of the soundboard, to increase volume and clarity.</li>\n
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<li><strong>By for:</strong> Roy Courtnall</li>\n
<li><strong>Description:</strong> The guitars made by Ignacio Fleta are renowned for their tremendous power, making them ideal for the concert hall. Fleta made his first guitar in 1930, having already constructed many violins and cellos. After hearing Andre Segovia playing in 1955, Fleta was inspired with the determination to make good guitars, and he produced a guitar for Segovia, which was played by the master all over the world. Fleta's violin-making background can be seen in his method of making the guitar - he preferred to complete the sound box, or body of the instrument first, and then joined the neck on afterwards, in the same way that violins are assembled. The plan offered here shows Fleta's method, but it is equally possible to follow his design in all respects except for the neck joint, which can be done in the traditional Spanish way. Of special interest in Fleta's design is his strutting pattern, which employs nine fan struts and a sloping harmonic bar, which helps to increase the volume and clarity of the treble notes.</li>\n
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<h2><strong>Mastering The Sound Of The Acoustic Guitar</strong></h2>\n
<p>Ever wondered how to <strong>measure the sound of the guitars you build</strong>? How to shape its sound signature, with a simple method? How to choose the best tone wood for your project, or to<strong> solve problems of resonances, or wolf notes</strong>?<br /><strong>Mastering the sound of the acoustic guitar</strong> is a workshop manual written for guitar makers, that explains how the acoustic guitar works, how to shape the sound it produces and how to measure it in a simple and repeatable way. From tone wood technical evaluation and selection to fine tuning the performances of the instrument during the build or <strong>troubleshooting acoustic problems of a finished instrument, such as wolf tones.</strong><br />A <strong>complete package of calculation and simulation tools is available for download</strong>, together with the database of the numerous measurements that illustrates each step.<br />This manual is the perfect choice to enter the fantastic world of acoustic measurements and improve the sonic signature and performances of any type of acoustic and classical guitar, <strong>both for guitar makers and repair-maintenance shops</strong>, with 160 pages of beautifully color printed photos, illustrations, and graphics. <br /><br />“The method that Giuliano lays out in his manual not only covers all the important details and how to measure them consistently, it also explains the relationship between them, the importance of these relationships and how to control them. And perhaps what I like most about it is that he does not present one way as “the best” (after all, it’s all so subjective). Giuliano’s method makes this complicated testing very approachable to even beginners and lays the groundwork for guitar makers to have a database that could easily be universal and shared amongst the luthier community.”<br /><strong>Zach Lefebvre, Treehouse Guitars</strong></p>\n
<p>“For those wanting to understand the dynamics of a coupled acoustic system, take measurements, and realize useful data (mechanical and acoustic) in order to craft better guitars, this manual will greatly accelerate and demystify the process. It distills the concepts into easily understandable tasks. Of course, it is not a substitute for empirical experience, and ultimately, doing the work. I wish this book had been written 30 years ago…”<br /><strong>Michael Greenfield, Greenfield Guitars</strong></p>\n
<h2><strong>Characteristics</strong></h2>\n
<ul style="list-style-type:disc;">\n
<li><strong>Author: </strong>Giuliano Nicoletti</li>\n
</ul>\n
<ul style="list-style-type:disc;">\n
<li><strong>Language: </strong>English</li>\n
</ul>\n
<ul style="list-style-type:disc;">\n
<li><strong>Binding: </strong>Hardcover</li>\n
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<p></p>\n
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<li><strong>By for:</strong> Roy Courtnall</li>\n
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