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Plano Guitarra de Concierto Lattice-Braced
Ref: 11646
Últimas unidades
Tamaño: A-2 (420 x 594mm )Escala: 1:1Medidas del plano: En Milimetros.Cantidad: 4 hojas Hoja 1: Diseño de puente, Cabeza, roseta, ZoqueHoja 2: Diseño de tapa interior y varetas Hoja 3: Diseño diapasón, mango y sección caja de resonanciaHoja 4: NotasRealizado por: Roy CourtnallDescripción: Hay muchas variaciones en este enfoque de este 'Lattice', las más extremas a veces son criticadas por ser demasiado parecidas a 'banjo', con un sonido penetrante pero poco sostenido y una pérdida de la calidez tradicional del sonido de la guitarra clásica española. Con un uso cuidadoso de la madera, los espesores y el soporte interior, es posible crear una guitarra con un 'sonido' tradicional, al mismo tiempo que tiene una mayor proyección, con un buen equilibrio entre los rangos de bajos, medios y agudos, convirtiéndola en un mayor placer de tocar.
Este tipo de guitarra es la más demandada, ya que implica muchos más pasos en el proceso de construcción, y baja la caja de resonancia a la membrana con el grosor requerido tomando un gran control de las herramientas y de los materiales.
Referencia
11646
En stock
3 Artículos
Ficha técnica
Tipo de Herramienta: PlantillaTipo de Trabajo: Construcción de Instrumentos
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<ul>\n
<li><strong>Tamaño:</strong> A-2 (<span>420 x 594mm</span>)</li>\n
<li><strong>Escala: </strong>1:1</li>\n
<li><strong>Medidas del plano:</strong> En Milimetros.</li>\n
<li><span><strong>Cantidad:</strong> 4 hojas </span></li>\n
<li><strong>Hoja 1: </strong>Diseño de puente, Cabeza, roseta, Zoque</li>\n
<li><strong>Hoja 2: </strong>Diseño de tapa interior y varetas </li>\n
<li><strong>Hoja 3: </strong>Diseño 2 de tapa interior y varetas</li>\n
<li><strong>Hoja 4: </strong>Diseño diapasón, mango y sección caja de resonancia</li>\n
<li><span><strong>Realizado por:</strong> Roy Courtnall</span></li>\n
<li><strong><strong><strong>Descripción: </strong></strong></strong>Las guitarras con agujeros de doble sonido se fabricaron a principios del siglo XX, sobre todo por el luthier español Francisco Simplicio, nacido en Barcelona en 1874. Simplicio utilizó una variante en las barras armónicas tradicionales. Los fabricantes contemporáneos han experimentado con diferentes diseños de barra armónica dentro de los parámetros del área más grande de la caja de resonancia, fué conseguido moviendo los agujeros de sonido hacia la sección superior de la guitarra. El diseño de las barras armónicas tradicionales de Lattice que se muestra aquí, hace que la guitarra tenga un volumen, proyección y sustain excepcionales. Los planos que se ofrecen aquí, muestran tanto un diseño semicircular doble como un diseño de agujero de sonido circular doble</li>\n
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<li><strong>Tamaño:</strong> A-1 (594 x 841mm)</li>\n
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<li><strong>Medidas del plano:</strong> En Milimetros.</li>\n
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<li><span><strong>Realizado por:</strong> Roy Courtnall</span></li>\n
<li><strong><strong>Descripción: </strong></strong>La guitarra Selmer o "Selmer-Maccaferri" o simplemente "Maccaferri" es una guitarra acústica inusual conocida como el instrumento favorito de Django Reinhardt. Fue producido por Selmer desde 1932 hasta aproximadamente 1952. Este es un plano detallado a tamaño real para construir esta guitarra. </li>\n
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<ul>\n
<li><strong>Tamaño:</strong> A-2 (<span>420 x 594mm</span>)</li>\n
<li><strong>Escala: </strong>1:1</li>\n
<li><strong>Medidas del plano:</strong> En Milimetros.</li>\n
<li><span><strong>Cantidad:</strong> 4 hojas </span></li>\n
<li><strong>Hoja 1: </strong>Diseño de puente, Cabeza, roseta, Zoque</li>\n
<li><strong>Hoja 2: </strong>Diseño de tapa interior y varetas </li>\n
<li><strong>Hoja 3: </strong>Diseño diapasón, mango y sección caja de resonancia</li>\n
<li><strong>Hoja 4: </strong>Notas</li>\n
<li><span><strong>Realizado por:</strong> Roy Courtnall</span></li>\n
<li><strong><strong><strong><strong>Descripción: </strong></strong></strong></strong>Hay muchas formas de diseñar el interior y el grosor de la tapa en la guitarra clásica. La sabiduría popular vio la caja de sonido como un elemento único, hecho de varios tipos de madera, que vibran cuando se tocan las cuerdas; - esta multitud de vibraciones contribuyen al tono y la proyección general del sonido producido por la caja de resonancia. Este enfoque tiene muchas ventajas, pero uno de los problemas es que parte de la energía producida por la cuerda tocada se pierde cuando se mueve hacia los aros, el fondo, el mango e incluso el cuerpo del guitarrista. \n
<p>Hay muchas variaciones en este enfoque de este 'Lattice', las más extremas a veces son criticadas por ser demasiado parecidas a 'banjo', con un sonido penetrante pero poco sostenido y una pérdida de la calidez tradicional del sonido de la guitarra clásica española. Con un uso cuidadoso de la madera, los espesores y el soporte interior, es posible crear una guitarra con un 'sonido' tradicional, al mismo tiempo que tiene una mayor proyección, con un buen equilibrio entre los rangos de bajos, medios y agudos, convirtiéndola en un mayor placer de tocar. </p>\n
<p>Este tipo de guitarra es la más demandada, ya que implica muchos más pasos en el proceso de construcción, y baja la caja de resonancia a la membrana con el grosor requerido tomando un gran control de las herramientas y de los materiales.</p>\n
<p> </p>\n
</li>\n
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<span>Grado </span>\n
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<span >\n
<strong >Ugo C</strong><br/>\n
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<em>13/05/2024</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>Plano Guitarra de Concierto Lattice-Braced</strong></p>\n
<ul>\n
<li><strong>Tamaño:</strong> A-2 (<span>420 x 594mm</span>)</li>\n
<li><strong>Escala: </strong>1:1</li>\n
<li><strong>Medidas del plano:</strong> En Milimetros.</li>\n
<li><span><strong>Cantidad:</strong> 4 hojas </span></li>\n
<li><strong>Hoja 1: </strong>Diseño de puente, Cabeza, roseta, Zoque</li>\n
<li><strong>Hoja 2: </strong>Diseño de tapa interior y varetas </li>\n
<li><strong>Hoja 3: </strong>Diseño diapasón, mango y sección caja de resonancia</li>\n
<li><strong>Hoja 4: </strong>Notas</li>\n
<li><span><strong>Realizado por:</strong> Roy Courtnall</span></li>\n
<li><strong><strong><strong><strong>Descripción: </strong></strong></strong></strong>Hay muchas formas de diseñar el interior y el grosor de la tapa en la guitarra clásica. La sabiduría popular vio la caja de sonido como un elemento único, hecho de varios tipos de madera, que vibran cuando se tocan las cuerdas; - esta multitud de vibraciones contribuyen al tono y la proyección general del sonido producido por la caja de resonancia. Este enfoque tiene muchas ventajas, pero uno de los problemas es que parte de la energía producida por la cuerda tocada se pierde cuando se mueve hacia los aros, el fondo, el mango e incluso el cuerpo del guitarrista. \n
<p>Hay muchas variaciones en este enfoque de este 'Lattice', las más extremas a veces son criticadas por ser demasiado parecidas a 'banjo', con un sonido penetrante pero poco sostenido y una pérdida de la calidez tradicional del sonido de la guitarra clásica española. Con un uso cuidadoso de la madera, los espesores y el soporte interior, es posible crear una guitarra con un 'sonido' tradicional, al mismo tiempo que tiene una mayor proyección, con un buen equilibrio entre los rangos de bajos, medios y agudos, convirtiéndola en un mayor placer de tocar. </p>\n
<p>Este tipo de guitarra es la más demandada, ya que implica muchos más pasos en el proceso de construcción, y baja la caja de resonancia a la membrana con el grosor requerido tomando un gran control de las herramientas y de los materiales.</p>\n
<p> </p>\n
</li>\n
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<li><strong>Escala: </strong>1:1</li>\n
<li><strong>Medidas del plano:</strong> En Milimetros.</li>\n
<li><span><strong>Cantidad:</strong> 3 hojas </span></li>\n
<li><strong>Hoja 1: </strong>Diseño de puente, Cabeza, roseta, Zoque</li>\n
<li><strong>Hoja 2: </strong>Diseño de tapa interior y varetas </li>\n
<li><strong>Hoja 3: </strong>Diseño diapasón, mango y sección caja de resonancia</li>\n
<li><span><strong>Realizado por:</strong> Roy Courtnall</span></li>\n
<li><strong><strong><strong>Descripción: </strong></strong></strong>Marcelo Barbero fue uno de los principales fabricantes de guitarras flamencas, alumno de José Ramírez II. Después de la muerte de Santos Hernández, Barbero trabajó para la viuda de Hernández, Mathilda Ruiz, para completar los pedidos que ya habían sido encargados. Esta experiencia le dio una visión única de las herramientas y los métodos de trabajo del gran Santos Hernández y quizás esto fue una influencia parcial en Barbero, cuyas guitarras flamencas aún hoy son consideradas como algunas de las mejores que se hayan hecho. El plano que se presenta aquí, viene en tres hojas de papel tamaño A2 y proporciona todas las medidas con dibujos a tamaño real a partir de los cuales se puede hacer una réplica cercana. Ideal para aquellos que deseen construir una guitarra flamenca, quizás junto con el otro gran fabricante de flamenco, Santos Hernández, cuyos planos de guitarra también están disponibles aquí.</li>\n
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<h2><strong>Set Plantillas y Molde Chelo Stradivarius Davidov 1712</strong></h2>\n
<p>Este set está pensado para facilitar el trazado del violonchelo modelo <strong>Stradivarius “Davidov” 1712</strong>, una de las obras más reconocidas del maestro cremonense. Incluye todas las plantillas necesarias para reproducir con precisión el contorno del instrumento, sus líneas de arqueado, las puntas, el brazo y la forma de los efes, además del <strong>molde interno</strong>.</p>\n
<p>Las piezas están fabricadas en <strong>acrílico rígido transparente de 2 mm</strong>, <strong>MDF de 3 mm y 12 mm</strong> y <strong>estireno flexible de 1 mm</strong>, materiales duraderos y fiables para el trabajo diario en el taller.</p>\n
<p><strong>El set incluye:</strong></p>\n
<ul>\n
<li>1 Molde interno – MDF 12 mm – rígido</li>\n
<li>1 Plantilla externa – acrílico 2 mm – rígido</li>\n
<li>1 Plantilla interna – acrílico 2 mm – rígido</li>\n
<li>8 Plantillas de bóveda – MDF 3 mm – rígido</li>\n
<li>2 Plantillas de punta – MDF 3 mm – rígido</li>\n
<li>1 Plantilla de brazo – acrílico 2 mm – flexible</li>\n
<li>1 Plantilla de efe – estireno 1 mm – flexible</li>\n
<li>2 Pernos – acero</li>\n
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<p>Además de este modelo, disponemos de plantillas y moldes para otros violonchelos históricos. Puedes consultar disponibilidad escribiendo a <a href="mailto:comercial1@maderas-barber.com">comercial1@maderas-barber.com</a>. Modelos disponibles:</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>* Las fotografías mostradas tienen carácter ilustrativo. El set que recibirás se ajusta específicamente al modelo Stradivarius Davidov 1712.</p>\n
<h2><strong>Características Técnicas</strong></h2>\n
<ul>\n
<li><strong>Instrumento</strong>: Violonchelo</li>\n
<li><strong>Modelo</strong>: Stradivarius “Davidov” 1712</li>\n
<li><strong>Material</strong>: Acrílico transparente, MDF y estireno</li>\n
<li><strong>Forma</strong>: Molde “Davidov”</li>\n
<li><strong>Pernos</strong>: Acero</li>\n
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<li><span><strong>Cantidad:</strong> 4 hojas </span></li>\n
<li><strong>Hoja 1: </strong>Diseño de puente, cabeza, roseta, zoque</li>\n
<li><strong>Hoja 2: </strong>Diseño de tapa interior y varetas </li>\n
<li><strong>Hoja 3: </strong>Diseño 2 de tapa interior y varetas </li>\n
<li><strong>Hoja 4: </strong>Diapasón, Mango, sección caja de resonancia </li>\n
<li><span><strong>Realizado por:</strong> Roy Courtnall</span></li>\n
<li><strong><strong><strong>Descripción: </strong></strong></strong>Manuel Hernández y Victoriano Aguado fueron unos de los socios de guitarra más exitosos del siglo XX. Trabajaron en Madrid, donde desarrollaron sus propios diseños de guitarra particulares que resultaron ser extremadamente populares entre los músicos. A algunos de éstos les gustan sus guitarras precisamente porque parecen carecer de una personalidad fuerte, esto hace que sea más fácil que el músico le ponga su propia personalidad en la música (en contraste, por ejemplo, con una Fleta, que a veces parece sonar "como una Fleta" quienquiera que la esté tocando). Estos fabricantes utilizaron varios diseños en la disposición de barras armónicas, y los planos que se presentan aquí, incluyen dos diseños diferentes: el primero utiliza cinco barras de viento y barras de cierre; el segundo utiliza seis barras de viento, dos barras de cierre y una barra larga diagonal que atraviesa la parte soprano de la caja de resonancia, para aumentar el volumen y la claridad.</li>\n
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<h2>Descripción General del Portaminas de Precisión Graphgear 500:</h2>\n
<p>El <strong>portaminas de precisión Graphgear 500 es una herramienta para dibujar y escribir con precisión</strong>. Su diseño de punta larga de 4 mm es <strong>perfecto para luthiers que, como tú, necesitan trabajar con reglas y plantillas</strong>.</p>\n
<p>La empuñadura de malla metálica sobre un cuerpo delgado y biselado <strong>te proporciona un excelente control del lápiz portaminas</strong> y gran comodidad durante su uso. Además, su peso en la punta de los dedos te facilitará el <strong>trabajo preciso en dibujos y plantillas.</strong></p>\n
<p>El Graphgear 500 viene <strong>precargado con mina Pentel Super Hi-Polymer de 0.5mm HB,</strong> la cual es resistente y no necesita ser afilada, lo que produce una línea definida y oscura.</p>
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<ul>\n
<li><strong>Tamaño:</strong> A-2 (<span>420 x 594mm</span>)</li>\n
<li><strong>Escala: </strong>1:1</li>\n
<li><strong>Medidas del plano:</strong> En Milimetros.</li>\n
<li><span><strong>Cantidad:</strong> 3 hojas </span></li>\n
<li><strong>Hoja 1: </strong>Diseño de puente, Cabeza, roseta, Zoque</li>\n
<li><strong>Hoja 2: </strong>Diseño de tapa interior y varetas </li>\n
<li><strong>Hoja 3: </strong>Diseño diapasón, mango y sección caja de resonancia</li>\n
<li><span><strong>Realizado por:</strong> Roy Courtnall</span></li>\n
<li><strong><strong><strong>Descripción: </strong></strong></strong>Daniel Friederich es el fabricante de guitarras francés más famoso de las últimas tres o cuatro décadas: siguió la tradición de los fabricantes de guitarras francesas iniciada por Robert Bouchet. Las guitarras de Friederich ahora son tocadas en todo el mundo por muchos de los mejores guitarristas profesionales. La artesanía de Friederich es excelente, y cada instrumento es una obra maestra del tono y la artesanía. Ha desarrollado varios diseños innovadores en la disposición de las barras armónicas, algunos de los cuales incluyen una "barra de puente", una idea que también utiliza Robert Bouchet. Pero en el caso de Friederich, ha refinado las dimensiones de las barras armónicas y el grosor de las palas para obtener resultados consistentes. Friederich también prueba con gran cuidado, la calidad de toda la madera que utiliza, para calcular con precisión qué tan fuerte o flexible es una pieza en particular. Esto lo ayuda a decidir las dimensiones óptimas para ese componente. El plano disponible aquí es uno de sus diseños más exitosos, y permite al fabricante de guitarras más avanzado estudiar el diseño sofisticado de uno de los mejores maestros de guitarra de los últimos tiempos.\n
<p><span> </span></p>\n
</li>\n
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<li><span><strong>Realizado por:</strong> Roy Courtnall</span></li>\n
<li><strong><strong><strong><strong>Descripción: </strong></strong></strong></strong>Torres es conocido como el fundador de la guitarra clásica española moderna, y muchos luthiers experimentados aún siguen fabricando sus guitarras siguiendo los diseños establecidos por Torres en 1860. Habiendo fabricado una guitarra de acuerdo con las dimensiones más grandes del plano de Torres número 2, muchos fabricantes de guitarras encuentran interesante construir una guitarra pequeña, a menudo conocida como Parlor o Guitarra Requinto, que contrasta con una guitarra de tamaño completo. Este es un diseño interesante a seguir: la guitarra pequeña tiene un sonido sorprendentemente vibrante y penetrante, especialmente en el rango de agudos. El menor volumen de aire contenido dentro de la caja de sonido significa que el rango de bajos está menos lleno, pero siempre que se construya un instrumento bien equilibrado, el resultado suele ser muy agradable.</li>\n
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<li><strong>Medidas del plano:</strong> En Milimetros.</li>\n
<li><span><strong>Cantidad:</strong> 3 hojas </span></li>\n
<li><strong>Hoja 1: </strong>Diseño de puente, cabeza, roseta, zoque</li>\n
<li><strong>Hoja 2: </strong>Diseño de tapa interior y varetas </li>\n
<li><strong>Hoja 3: </strong>Diseño diapasón, mango y sección caja de resonancia</li>\n
<li><span><strong>Realizado por:</strong> Roy Courtnall</span></li>\n
<li><strong><strong>Descripción: </strong></strong><span>Manuel Ramírez nació en Alhama en 1864. Su hermano mayor, José, le enseñó a hacer guitarras y cuando tenía 27 años, en 1891, se estableció por su cuenta. Manuel se convirtió en uno de los fabricantes de guitarras más exitoso de su tiempo, ganando medallas en varias exposiciones por la excelente calidad de las mismas. Además de las guitarras clásicas españolas, también produjo instrumentos de once cuerdas. Segovia quedó muy impresionado con las guitarras de Ramírez y las tocó en muchas ocasiones. Se pueden ver muchas influencias de Hermann Hauser en sus guitarras, y los planos de Ramírez que se proporcionan aquí, sirven para hacer una guitarra estándar de concierto potente.</span></li>\n
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<h2><strong>Mastering the Sound of the Acoustic Guitar</strong></h2>\n
<p>¿Te has preguntado alguna vez cómo <strong>medir el sonido de las guitarras</strong> que construyes? ¿Cómo dar forma a su marca sonora con un método sencillo? ¿Cómo elegir la mejor madera para tu proyecto, o <strong>resolver problemas de resonancias, o notas fantasma</strong>?<br /><strong>"Mastering the Sound of the Acoustic Guitar"</strong> es un manual de taller escrito para constructores de guitarras, que explica cómo funciona la guitarra acústica, cómo dar forma al sonido que produce y cómo medirlo de manera sencilla y repetible. Desde la evaluación y selección técnica de las maderas hasta el <strong>ajuste fino de las prestaciones del instrumento</strong> durante la construcción o la resolución de problemas acústicos de un instrumento acabado, como las notas fantasma.</p>\n
<p><br />Junto con la base de datos de las numerosas mediciones que ilustran cada paso, hay <strong>disponible para su descarga un paquete completo de herramientas de cálculo y simulación.</strong><br />Este manual es la elección perfecta para adentrarse en el fantástico mundo de las mediciones acústicas y mejorar la identidad sonora y las prestaciones de cualquier tipo de guitarra acústica y clásica, tanto <strong>para guitarreros como para talleres de reparación y mantenimiento</strong>, con 160 páginas de fotos, ilustraciones y gráficos impresos a todo color.</p>\n
<p>“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> <br /><br />“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>Características</strong></h2>\n
<ul style="list-style-type:disc;">\n
<li><strong>Autor: </strong>Giuliano Nicoletti</li>\n
</ul>\n
<ul style="list-style-type:disc;">\n
<li><strong>Idioma: </strong>inglés</li>\n
</ul>\n
<ul style="list-style-type:disc;">\n
<li><strong>Encuadernación: </strong>tapa dura</li>\n
</ul>\n
<p></p>\n
<p></p>\n
<p><iframe width="385" height="210" src="https://www.youtube.com/embed/91OAZv0fwas?si=UWCy--uG-n3G-vKm" title="YouTube video player" frameborder="0"></iframe></p>
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<h2><strong>Set Plantillas y Molde Violín Guarneri Cannone 1743</strong></h2>\n
<p>Este set está diseñado para ofrecerte una base de trabajo precisa y duradera. Incluye todas las plantillas necesarias para el trazado completo del instrumento: contornos externos e internos, arqueados, puntas, efes y brazo. Las piezas están cortadas en <strong>acrílico rígido transparente de 2 mm</strong>, <strong>MDF de 3 mm y 12 mm</strong> y <strong>estireno flexible de 1 mm</strong>, materiales estables y resistentes al uso continuo en el taller. El conjunto se completa con <strong>pernos de acero</strong>, garantizando rigidez y <strong>consistencia en el trazado</strong>.</p>\n
<p><strong>El kit incluye:</strong></p>\n
<ul>\n
<li>1 Molde interno – MDF 12 mm – rígido</li>\n
<li>1 Plantilla externa – acrílico 2 mm – rígido</li>\n
<li>1 Plantilla interna – acrílico 2 mm – rígido</li>\n
<li>8 Plantillas de bóveda – MDF 3 mm – rígido</li>\n
<li>2 Plantillas de punta – MDF 3 mm – rígido</li>\n
<li>1 Plantilla de brazo – acrílico 2 mm – flexible</li>\n
<li>1 Plantilla de efe – estireno 1 mm – flexible</li>\n
<li>2 Pernos – acero</li>\n
</ul>\n
<p>Corresponde al modelo <strong>Guarneri del Gesù “Il Cannone” 1743</strong>, célebre por haber sido el instrumento favorito de Niccolò Paganini. Su construcción se caracteriza por una caja de resonancia ligeramente más corta y profunda, y un mástil notablemente curvado, lo que contribuye a su tono potente y resonante.</p>\n
<p>Además de este modelo, disponemos de plantillas para otros violines históricos. Puedes consultar disponibilidad escribiendo directamente a nuestro equipo en <a href="mailto:comercial1@maderas-barber.com">comercial1@maderas-barber.com</a>. Los modelos disponibles son:</p>\n
<ul>\n
<li>Giovanni Paolo Maggini – Violín 1630</li>\n
<li>Carlo Giuseppe Testore – Violín 1703</li>\n
<li>Pietro Guarneri de Mantua – Violín 1704</li>\n
<li>Antonio Stradivari – Violín 1709 “Viotti”</li>\n
<li>Antonio Stradivari – Violín 1727 “Benvenuti”</li>\n
<li>Antonio Stradivari – Violín 1734 “Willemotte”</li>\n
<li>Carlo Bergonzi – Violín 1735 “Baron Knoop”</li>\n
<li>Guarneri del Gesù – Violín 1735 “Plowden”</li>\n
<li>Guarneri del Gesù – Violín 1741 “Vieuxtemps”</li>\n
<li>Guarneri del Gesù – Violín 1741 “Kochánski”</li>\n
<li>Guarneri del Gesù – Violín 1745 “Leduc”</li>\n
<li>Giovanni Battista Guadagnini – Violín 1774 “Salabue”, “Berta”</li>\n
</ul>\n
<p>* Las fotografías mostradas tienen carácter ilustrativo. El set que recibirás se ajusta específicamente al modelo Guarneri Cannone 1743.</p>\n
<h2><strong>Características Técnicas</strong></h2>\n
<ul>\n
<li><strong>Instrumento</strong>: Violín</li>\n
<li><strong>Modelo</strong>: Guarneri del Gesù “Il Cannone” 1743</li>\n
<li><strong>Material</strong>: Acrílico transparente, MDF y estireno</li>\n
<li><strong>Forma</strong>: Molde “Cannone”</li>\n
<li><strong>Pernos</strong>: Acero</li>\n
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<ul>\n
<li><strong>Tamaño:</strong> A-2 (<span>420 x 594mm</span>)</li>\n
<li><strong>Escala: </strong>1:1</li>\n
<li><strong>Medidas del plano:</strong> En Milimetros.</li>\n
<li><span><strong>Cantidad:</strong> 3 hojas </span></li>\n
<li><strong>Hoja 1: </strong>Diseño de puente, cabeza, roseta, zoque</li>\n
<li><strong>Hoja 2: </strong>Diseño de tapa interior y varetas </li>\n
<li><strong>Hoja 3: </strong>Diseño diapasón, mango y sección caja de resonancia</li>\n
<li><span><strong>Realizado por:</strong> Roy Courtnall</span></li>\n
<li><strong><strong><strong>Descripción: </strong></strong></strong>El nombre de Hermann Hauser es legendario en la historia de la fabricación de guitarras. Junto con Torres, Hauser ayudó a definir las características de la guitarra clásica española moderna. Tanto Julián Bream como Andre Segovia tocaron guitarras Hauser durante muchos años. Hauser originalmente se reunió con Segovia en un concierto donde éste le explicó las características de la guitarra ideal que estaba buscando. Le mostró una Santos Hernández, y eso sirvió de punto de partida para el trabajo de Hauser. Fue aproximadamente doce años después que Hauser le mostró a Segovia una guitarra que fue probada por el; de hecho, estaba encantado y luego se refirió a esta guitarra Hauser como "la mejor guitarra de nuestra época". El diseño es esencialmente similar al de Torres, pero un poco más refinado. Muchos fabricantes modernos utilizan este patrón como la base de su trabajo, y las "copias de Hauser" son extremadamente populares.</li>\n
</ul>
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<h2><strong>Set Plantillas y Molde Violín Stradivarius Titian 1715</strong></h2>\n
<p>Este set está pensado para ofrecerte una base de trabajo precisa y duradera. Incluye todas las plantillas necesarias para el trazado completo del instrumento: contornos externos e internos, arqueados, puntas, efes y brazo. Las piezas están cortadas en <strong>acrílico rígido transparente de 2 mm</strong>, <strong>MDF de 3 mm y 12 mm</strong> y <strong>estireno flexible de 1 mm</strong>, materiales estables y resistentes al uso continuo en el taller. El conjunto se completa con <strong>pernos de acero</strong>, garantizando rigidez y <strong>consistencia en el trazado</strong>.</p>\n
<p><strong>El kit incluye:</strong></p>\n
<ul>\n
<li>1 Molde interno – MDF 12 mm – rígido</li>\n
<li>1 Plantilla externa – acrílico 2 mm – rígido</li>\n
<li>1 Plantilla interna – acrílico 2 mm – rígido</li>\n
<li>8 Plantillas de bóveda – MDF 3 mm – rígido</li>\n
<li>2 Plantillas de punta – MDF 3 mm – rígido</li>\n
<li>1 Plantilla de brazo – acrílico 2 mm – flexible</li>\n
<li>1 Plantilla de efe – estireno 1 mm – flexible</li>\n
<li>2 Pernos – acero</li>\n
</ul>\n
<p>Corresponde al modelo <strong>Stradivarius “Titian” 1715</strong>, uno de los diseños más equilibrados del periodo dorado. La plantilla se basa en el <strong>molde “P”</strong>, caracterizado por un contorno compacto que muchos luthiers consideran una excelente base para obtener proyección y respuesta controlada.</p>\n
<p>Además de este modelo, disponemos de plantillas para otros violines históricos. Puedes consultar disponibilidad escribiendo directamente a nuestro equipo en <a href="mailto:comercial1@maderas-barber.com"><strong>comercial1@maderas-barber.com</strong></a>. Los modelos disponibles son:</p>\n
<ul>\n
<li>Giovanni Paolo Maggini – Violín 1630</li>\n
<li>Carlo Giuseppe Testore – Violín 1703</li>\n
<li>Pietro Guarneri de Mantua – Violín 1704</li>\n
<li>Antonio Stradivari – Violín 1709 “Viotti”</li>\n
<li>Antonio Stradivari – Violín 1727 “Benvenuti”</li>\n
<li>Antonio Stradivari – Violín 1734 “Willemotte”</li>\n
<li>Carlo Bergonzi – Violín 1735 “Baron Knoop”</li>\n
<li>Guarneri del Gesù – Violín 1735 “Plowden”</li>\n
<li>Guarneri del Gesù – Violín 1741 “Vieuxtemps”</li>\n
<li>Guarneri del Gesù – Violín 1741 “Kochánski”</li>\n
<li>Guarneri del Gesù – Violín 1745 “Leduc”</li>\n
<li>Giovanni Battista Guadagnini – Violín 1774 “Salabue”, “Berta”</li>\n
</ul>\n
<p>* Las fotografías mostradas tienen carácter ilustrativo. El set que recibirás se ajusta específicamente al modelo Stradivarius Titian 1715.</p>\n
<h2><strong>Características Técnicas</strong></h2>\n
<ul>\n
<li><strong>Instrumento</strong>: Violín</li>\n
<li><strong>Modelo</strong>: Stradivarius “Titian” 1715</li>\n
<li><strong>Material</strong>: Acrílico transparente, MDF y estireno</li>\n
<li><strong>Forma</strong>: Molde “P”</li>\n
<li><strong>Pernos</strong>: Acero</li>\n
</ul>
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<li><strong>Hoja 1: </strong>Diseño de Cabeza, Pala, Puente, Diapasón, Caja de resonancia.</li>\n
<li><strong>Hoja 2: </strong>Mango, Caja de resonancia.</li>\n
<li><span><strong>Realizado por:</strong> Roy Courtnall</span></li>\n
<li><strong><strong><strong>Descripción: </strong></strong></strong>Desde principios de 1950, Hofner estableció el punto de referencia para el diseño y la fabricación de la guitarra Archtop. Se desarrollaron muchos modelos famosos, como el Senator, el President y el Golden Hofner, todos los cuales ahora son artículos de colección. Este es el plano a escala 1:1 detallado para construir una guitarra, que viene separada en un diseño único. Se basa en una guitarra de jazz archtop Hofner 1960.</li>\n
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<li><span><strong>Realizado por:</strong> Roy Courtnall</span></li>\n
<li><strong><strong><strong><strong>Descripción: </strong></strong></strong></strong>Construye una guitarra clásica de 10 cuerdas: La guitarra de diez cuerdas fue desarrollada en la década de 1960 por Narciso Yepes, quien trabajó con el luthier José Ramírez para producir un diseño muy exitoso, y en 1963 Narciso Yepes realizó el Concierto de Aranjuez con la Orquesta Filarmónica de Berlín, usando la guitarra de diez cuerdas que había inventado en colaboración con José Ramírez III, con una afinación diseñada para proporcionar resonancia de cuerdas al unísono con cualquier nota tocada en las cuerdas agudas. Este plano muestra con gran detalle el estilo de Yepes y de su guitarra de diez cuerdas. Desde 1963 y durante toda su vida, Yepes usó solo la guitarra de diez cuerdas en la grabación y las actuacciones. La disponibilidad de guitarras clásicas de diez cuerdas de alta calidad de la Compañía Ramírez permitió y animó a otros artistas a investigar el instrumento. La música de guitarra de seis cuerdas se puede reproducir en las primeras seis cuerdas, pero con una resonancia adicional de las cuerdas de más que posee. Esta fue la intención original de Yepes y la razón de este diseño. La música específicamente dispuesta para este instrumento puede hacer uso de las cuerdas adicionales directamente, por lo tanto: la música originalmente escrita para instrumentos con más de seis cuerdas se puede transcribir más fielmente. La música escrita por Bach y sus contemporáneos para laúd es de particular interés en este sentido. \n
<p><span> </span></p>\n
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<li><span><strong>Realizado por:</strong> Roy Courtnall</span></li>\n
<li><strong><strong><strong><strong><strong>Descripción: </strong></strong></strong></strong></strong>A Torres se le conoce como el fundador de la guitarra clásica española moderna, y muchos luthiers experimentados aún siguen fabricando sus guitarras siguiendo de cerca los diseños establecidos por el en 1850. Este plano también es muy adecuado para alguien que hace su primera guitarra, porque introduce al nuevo fabricante en el diseño básico del cual surgieron casi todas las innovaciones posteriores.\n
<p><span> </span></p>\n
<p><span>Antes de Torres, la mayoría de las guitarras eran bastante pequeñas, y no se había pensado mucho en el mejor método para reforzar la parte superior. Torres estableció un nuevo patrón de las barras armónicas de siete barras de viento y dos barras de cierre, que dieron a sus cajas de resonancia, el soporte que necesitaban, al mismo tiempo que permitieron que la madera vibrase lo suficiente como para producir un sonido equilibrado.</span></p>\n
<p><span> </span></p>\n
<p><span>También estableció una guitarra de forma elegante que, aunque es más pequeña que algunas guitarras de concierto modernas, es muy hermosa de ver. Es un punto de partida ideal para el fabricante de guitarras moderno.</span></p>\n
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