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Mastering the Sound of the Acoustic Guitar. Giuliano Nicoletti
Ref: 15227
En stock
Mastering the Sound of the Acoustic Guitar ¿Te has preguntado alguna vez cómo medir el sonido de las guitarras que construyes? ¿Cómo dar forma a su marca sonora con un método sencillo? ¿Cómo elegir la mejor madera para tu proyecto, o resolver problemas de resonancias, o notas fantasma ?"Mastering the Sound of the Acoustic Guitar" 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 ajuste fino de las prestaciones del instrumento durante la construcción o la resolución de problemas acústicos de un instrumento acabado, como las notas fantasma.
disponible para su descarga un paquete completo de herramientas de cálculo y simulación. para guitarreros como para talleres de reparación y mantenimiento , con 160 páginas de fotos, ilustraciones y gráficos impresos a todo color.
“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.”Zach Lefebvre, Treehouse Guitars Michael Greenfield, Greenfield Guitars
Características
Autor: Giuliano Nicoletti
Encuadernación: tapa dura
VIDEO
Referencia
15227
En stock
9 Artículos
Ficha técnica
Tipo de Trabajo: Construcción de Instrumentos
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574,75 €
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<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>Diapasón, Mango, sección caja de resonancia </li>\n
<li><span><strong>Realizado por:</strong> Roy Courtnall</span></li>\n
<li><strong><strong><strong><strong>Descripción: </strong></strong></strong></strong>José Romanillos tiene una merecida reputación como el mejor fabricante de guitarras que ha trabajado en el Reino Unido en los últimos años. Desde la década de 1970, cuando colaboró estrechamente con el guitarrista Julian Bream, las guitarras de Romanillos comenzaron a ser apreciadas en todo el mundo. No solo comenzó a hacer guitarras con magníficas cualidades tonales, sino que su habilidad suprema no tenía rival. Su diseño de roseta increíblemente hermoso resulta de particular interés, y hoy en día es copiado por muchos fabricantes nuevos (vea la Galería de imágenes). Basó su trabajo en guitarras anteriores de Torres y Hauser, pero luego introdujo sus propias innovaciones en el diseño, logrando finalmente lo que describe como "el verdadero sonido español\n
<p><span> </span></p>\n
<p><span>José Romanillos ha desarrollado varios diseños de barras armónicas innovadores, pero siempre basados en los principios de Torres. Para el fabricante de guitarras que ha construido unas pocas guitarras basadas en el plano de Torres, se le sugiere que utilice el plano de Romanillos para avanzar de manera ideal, ya que ofrece un desafío mayor debido a su complejidad de diseño. De hecho, el plano ofrece dos diseños de barras armónicas diferentes que Romanillos ha utilizado a lo largo de los años, lo que permite al fabricante de guitarras estudiar de cerca el trabajo del mejor fabricante de guitarras con base en Gran Bretaña del siglo XX.</span></p>\n
</li>\n
</ul>
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<h2><strong>Set Plantillas 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. Las plantillas permiten reproducir con precisión el contorno del instrumento, las líneas de arqueado, la punta, el brazo y la forma de los efes.</p>\n
<p>Fabricadas en <strong>acrílico rígido transparente de 2 mm</strong>, <strong>MDF de 3 mm</strong> y <strong>estireno flexible de 1 mm</strong>, estas piezas ofrecen estabilidad y resistencia para el uso habitual en el taller. Este kit básico <strong>no incluye molde interno</strong>.</p>\n
<p><strong>El set incluye:</strong></p>\n
<ul>\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
</ul>\n
<p>Además de este modelo, disponemos de plantillas para otros violonchelos históricos. Puedes consultar disponibilidad escribiendo directamente a nuestro equipo en <a href="mailto:comercial1@maderas-barber.com"><strong>comercial1@maderas-barber.com</strong></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>Espesor</strong>: 1 mm / 2 mm / 3 mm</li>\n
<li><strong>Incluye molde</strong>: No</li>\n
</ul>
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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><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
</li>\n
</ul>
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<li><strong>Tamaño:</strong> A-2 (<span>420 x 594mm</span>)</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
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<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><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
</li>\n
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<li><strong>Medidas del plano:</strong> En Milimetros.</li>\n
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<li><strong>Hoja 1: </strong>Diseño de Mango, Diapasón y Caja de resonancia.</li>\n
<li><strong>Hoja 2: </strong>Diseño de Tapas y Varetas, Cabeza y Puente.</li>\n
<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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<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><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><strong>Descripción: </strong></strong></strong></strong>Santos Hernández fue el fabricante más talentoso y famoso de guitarras flamencas en el siglo XX. Su trabajo perfeccionando el diseño de la guitarra flamenca ayudó a establecerlo como un instrumento fino, muy diferente en carácter a la guitarra clásica. Hay dos formas básicas en que la guitarra flamenca se diferencia de la guitarra clásica. La primera es en la elección de las maderas a usar, y la segunda en el diseño y grosor de las partes componentes. Las barras armónicas en la guitarra flamenca generalmente se mantienen bastante simple, porque el sonido terrenal, bastante libre y abierto, se logra mejor si la caja de resonancia no es demasiado controlada en la forma en que vibra. Santos Hernández usó siete barras de viento, en vez de barras de cierre en el extremo inferior de la guitarra. El peso de la guitarra es mínimo usando una caja de resonancia delgada y un ciprés delgado para el fondo y aros (ya que es mucho más ligero que el palo de rosa). Si planeas hacer tu primera guitarra flamenca, este es el modelo ideal a seguir.\n
<p><span> </span></p>\n
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<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><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
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<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
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<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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<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
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<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
</ul>
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<h2><strong>Set Plantillas y Molde Viola Guarneri Conte Vitale</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 “Conte Vitale”</strong>, una viola construida en 1676 por Andrea Guarneri, ampliamente valorada por su equilibrio entre tamaño, timbre y comodidad. Su contorno generoso, junto a una longitud de fondo cercana a los 41 cm, ha servido como base de referencia para generaciones de luthiers.</p>\n
<p>Además de este modelo, disponemos de plantillas para otras violas históricas. 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>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, siglo XVIII</li>\n
</ul>\n
<p>*Las fotografías mostradas tienen carácter ilustrativo. El set que recibirás se ajusta específicamente al modelo Guarneri Conte Vitale.</p>\n
<h2><strong>Características Técnicas</strong></h2>\n
<ul>\n
<li><strong>Instrumento</strong>: Viola</li>\n
<li><strong>Modelo</strong>: Guarneri “Conte Vitale”</li>\n
<li><strong>Material</strong>: Acrílico transparente, MDF y estireno</li>\n
<li><strong>Forma</strong>: Molde “Conte Vitale”</li>\n
<li><strong>Pernos</strong>: Acero</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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<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
</ul>
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<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>Robert Bouchet era un artesano con múltiples habilidades, de hecho, la fabricación de guitarras era algo que comenzó bastante tarde en su vida. Era sobre todo un artista, pintando al estilo impresionista, y durante muchos años enseñó pintura en París. Fue un fabricante de guitarras autodidacta, e hizo sus instrumentos estudiando las guitarras hechas por Torres. También tuvo la oportunidad de observar a su amigo Julián Gómez Ramírez, fabricante de guitarras con sede en París. Bouchet tenía un don natural como luthier, y Julián Bream era dueño de tres de sus guitarras. A menudo se piensa que Bouchet fue el primer luthier en introducir la "barra de puente" (una barra armónica grande pegada a la parte inferior de la superficie de la caja de resonancia, debajo de la posición del puente). De hecho, Bouchet fue el primero en explicar que había visto esto en una guitarra de Torres. A Bouchet le gustó la idea, y experimentó con esto como una forma de controlar el sonido y estabilizar el puente. Aunque no fabricó un gran número de guitarras, fueron muy demandadas, y hoy en día son extremadamente valiosas. El plano que se ofrece aquí, es un diseño de Bouchet con cinco barras de viento y una barra de puente.</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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