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Plan Guitare Classique Antonio de Torres 1884
Ref: 11645
Sin stock
Dimension : A-2 (420 x 594mm ) Échelle : 1:1 Dimensions du plan : En Millimètres. Quantité: 3 Feuilles Feuille 1: Design de chevalet, Tête, rosace, Talon Feuille 2: Designde table interior y barres d'éventail Feuille 3: DesignTouche, manche y sección caisse de résonance Conçu par : Roy Courtnall Description : 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 Designbásico del cual surgieron casi todas las innovaciones posteriores.
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.
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.
Référence
11645
Fiche technique
Type d'Outil: GabaritType de Travail: Facture Instrumentale
Vous aimerez aussi
35,09 €
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Sin stock
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<li><strong> Dimension : </strong> A-2 (<span>420 x 594mm <span> ) </span></span></li>\n
<li><strong> Échelle : </strong> 1:1</li>\n
<li><strong> Dimensions du plan : </strong> En Millimètres.</li>\n
<li><span> <strong> Quantité : </strong> 4 Feuilles <span> </span></span></li>\n
<li><strong> Feuille 1 : </strong> Design de chevalet, Tête, rosace, Talon</li>\n
<li><strong> Feuille 2 : </strong> Design de table intérieure et barres d'éventail </li>\n
<li><strong> Feuille 3 : </strong> Design de 2 tables intérieures et barres d'éventail </li>\n
<li><strong> Feuille 4 : </strong> Touche, manche, section caisse de résonance </li>\n
<li><span> <strong> Conçu par : </strong> Roy Courtnall <span> </span></span></li>\n
<li><strong> <strong> <strong> Description : </strong> </strong> </strong> Manuel Hernández et Victoriano Aguado comptent parmi les partenaires guitaristes les plus prospères du XXe siècle. Ils travaillaient à Madrid, où ils ont développé leurs propres modèles de guitares, qui se sont avérés extrêmement populaires auprès des musiciens. Certains musiciens aiment leurs guitares précisément parce qu'elles semblent manquer de personnalité, ce qui permet au musicien de mettre plus facilement sa propre personnalité dans la musique (contrairement, par exemple, à une Fleta, qui semble parfois sonner "comme une Fleta", quel que soit le musicien qui en joue). Ces facteurs ont utilisé différentes conceptions dans la disposition des barres harmoniques, et les plans présentés ici comprennent deux designs différents : le premier utilise cinq barres de vent et deux barres d'arrêt ; le second utilise six barres de vent, deux barres d'arrêt et une longue barre diagonale à travers la partie soprano de la caisse de résonance, afin d'augmenter le volume et la clarté.</li>\n
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<li><strong> Feuille 3 : </strong> Design Touche, manche et section caisse de résonance</li>\n
<li><span> <strong> Conçu par : </strong> Roy Courtnall <span> </span></span></li>\n
<li><strong> <strong> <strong> Description : </strong> </strong> </strong> Robert Bouchet était un artisan polyvalent. En fait, il s'est lancé dans la fabrication de guitares assez tardivement. Il était avant tout un artiste, peignant dans le style impressionniste, et a enseigné la peinture à Paris pendant de nombreuses années. Autodidacte, il fabrique ses instruments en étudiant les guitares de Torres. Il a également eu l'occasion d'observer son ami Julián Gómez Ramírez, un fabricant de guitares basé à Paris. Bouchet avait un don naturel pour la lutherie et Julian Bream possédait trois de ses guitares. On pense souvent que Bouchet a été le premier luthier à introduire la "barre de chevalet" (une grande barre harmonique attachée à la face inférieure de la surface de la caisse de résonance, sous la position du chevalet). En fait, Bouchet fut le premier à expliquer qu'il avait vu cela sur une guitare Torres. L'idée plut à Bouchet, qui l'expérimenta comme moyen de contrôler le son et de stabiliser le chevalet. Bien qu'il n'ait pas fabriqué un grand nombre de guitares, celles-ci étaient très demandées et ont une grande valeur aujourd'hui. Le plan proposé ici est un design de Bouchet avec cinq barres de vent et une barre de chevalet.</li>\n
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<li><strong> Dimensions du plan : </strong> En Millimètres.</li>\n
<li><span> <strong> Quantité : </strong> 3 Feuilles <span> </span></span></li>\n
<li><strong> Feuille 1 : </strong> Design de chevalet, Tête, rosace, Talon</li>\n
<li><strong> Feuille 2 : </strong> Designde table interior y barres d'éventail </li>\n
<li><strong> Feuille 3 : </strong> DesignTouche, manche y sección caisse de résonance</li>\n
<li><span> <strong> Conçu par : </strong> Roy Courtnall <span> </span></span></li>\n
<li><strong> <strong> <strong> Description : </strong> </strong> </strong> Le nom d'Hermann Hauser est légendaire dans l'histoire de la fabrication de guitares. Avec Torres, Hauser a contribué à définir les caractéristiques de la guitare classique espagnole moderne. Julián Bream et Andre Segovia ont tous deux joué sur des guitares Hauser pendant de nombreuses années. Hauser a d'abord rencontré Segovia lors d'un concert où Segovia lui a expliqué les caractéristiques de la guitare idéale qu'il recherchait. Il lui a montré une Santos Hernandez, qui a servi de point de départ au travail de Hauser. C'est environ douze ans plus tard que Hauser montra à Segovia une guitare qu'il essaya ; en fait, il fut enchanté et fit plus tard référence à cette guitare Hauser comme étant "la meilleure guitare de notre temps". La conception est essentiellement similaire à celle de Torres, mais un peu plus raffinée. De nombreux fabricants modernes utilisent ce modèle comme base de leur travail, et les "copies Hauser" sont extrêmement populaires.</li>\n
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<li><strong> Dimensions du plan : </strong> En Millimètres.</li>\n
<li><span> <strong> Quantité : </strong> 2 Feuilles <span> </span></span></li>\n
<li><strong> Feuille 1 : </strong> Design de Manche, Touche et Caisse de résonance.</li>\n
<li><strong> Feuille 2 : </strong> Design de Tables et barres d'éventail, Tête et Chevalet.</li>\n
<li><span> <strong> Conçu par : </strong> Roy Courtnall <span> </span></span></li>\n
<li><strong> <strong> Description : </strong> </strong> La guitare Selmer ou "Selmer-Maccaferri" ou simplement "Maccaferri" est une guitare acoustique inhabituelle connue comme l'instrument préféré de Django Reinhardt. Elle a été produite par Selmer de 1932 à 1952 environ. Il s'agit d'un plan détaillé à taille réelle pour la construction de cette guitare. </li>\n
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<li><span> <strong> Conçu par : </strong> Roy Courtnall <span> </span></span></li>\n
<li><strong> <strong> <strong> Description : </strong> </strong> </strong> Les guitares fabriquées par Ignacio Fleta sont réputées pour leur grande puissance, ce qui les rend idéales pour les salles de concert. Fleta a fabriqué sa première guitare en 1930, après avoir construit de nombreux violons et violoncelles. Après avoir entendu Andre Segovia jouer en 1955, Fleta a été inspiré par la détermination de fabriquer de bonnes guitares, et a fabriqué une guitare pour Segovia, qui a été jouée par le maestro dans le monde entier. Le fond de violon de Fleta est visible dans sa méthode de fabrication de la guitare : il préférait d'abord terminer la caisse de résonance ou le corps de l'instrument, puis assembler le manche, de la même manière que les violons sont assemblés. Le plan présenté ici illustre la méthode de Fleta, mais il est possible de suivre sa conception dans tous les aspects, à l'exception de l'assemblage du manche, qui peut être effectué de manière traditionnelle à l'espagnole. Un aspect intéressant de la conception de Fleta est son modèle de placement des barres harmoniques. Il utilise neuf barres de vent et une barre harmonique inclinée qui contribue à augmenter le volume et la clarté des notes soprano.</li>\n
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<li><strong> Feuille 3: </strong> DesignTouche, manche y sección caisse de résonance</li>\n
<li><span> <strong> Conçu par : </strong> Roy Courtnall <span> </span></span></li>\n
<li><strong> <strong> <strong> <strong> <strong> Description : </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 Designbásico del cual surgieron casi todas las innovaciones posteriores.\n
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<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> </span></span></p>\n
<p><span> <span> </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> </span></span></p>\n
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<p class="product_name"><strong>Plan Guitare Classique Antonio de Torres 1884</strong></p>\n
<ul>\n
<li><strong> Dimension : </strong> A-2 (<span>420 x 594mm <span> ) </span></span></li>\n
<li><strong> Échelle : </strong> 1:1</li>\n
<li><strong> Dimensions du plan : </strong> En Millimètres.</li>\n
<li><span> <strong> Quantité: </strong> 3 Feuilles <span> </span></span></li>\n
<li><strong> Feuille 1: </strong> Design de chevalet, Tête, rosace, Talon</li>\n
<li><strong> Feuille 2: </strong> Designde table interior y barres d'éventail </li>\n
<li><strong> Feuille 3: </strong> DesignTouche, manche y sección caisse de résonance</li>\n
<li><span> <strong> Conçu par : </strong> Roy Courtnall <span> </span></span></li>\n
<li><strong> <strong> <strong> <strong> <strong> Description : </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 Designbásico del cual surgieron casi todas las innovaciones posteriores.\n
<p><span> <span> </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> </span></span></p>\n
<p><span> <span> </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> </span></span></p>\n
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<li><strong> Dimensions du plan : </strong> En Millimètres.</li>\n
<li><span> <strong> Quantité : </strong> 4 Feuilles <span> </span></span></li>\n
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<li><strong> Feuille 3 : </strong> Design de 2 de tables intérieures et barres d'éventail </li>\n
<li><strong> Feuille 4 : </strong> Touche, manche, section caisse de résonance </li>\n
<li><span> <strong> Conçu par : </strong> Roy Courtnall <span> </span></span></li>\n
<li><strong> <strong> <strong> <strong> Description : </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 comenzÉclissen 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 Designde 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
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<h2><strong>Set Gabarits Violoncelle Stradivarius Davidov 1712</strong></h2>\n
<p>Ce set est conçu pour faciliter le traçage du modèle de violoncelle <strong>Stradivarius “Davidov” 1712</strong>, l’un des instruments les plus célèbres du maître de Crémone. Les gabarits permettent de reproduire précisément le contour, les voûtes, les pointes, le manche et les ouïes.</p>\n
<p>Fabriqués en <strong>acrylique transparent rigide de 2 mm</strong>, <strong>MDF de 3 mm</strong> et <strong>styrène flexible de 1 mm</strong>, ces éléments assurent une excellente stabilité en atelier. Ce kit de base <strong>ne comprend pas le moule interne</strong>.</p>\n
<p><strong>Le set comprend :</strong></p>\n
<ul>\n
<li>1 Gabarit externe – acrylique 2 mm – rigide</li>\n
<li>1 Gabarit interne – acrylique 2 mm – rigide</li>\n
<li>8 Gabarits de voûte – MDF 3 mm – rigide</li>\n
<li>2 Gabarits de pointe – MDF 3 mm – rigide</li>\n
<li>1 Gabarit de manche – acrylique 2 mm – flexible</li>\n
<li>1 Gabarit d’ouïe – styrène 1 mm – flexible</li>\n
</ul>\n
<p>Nous proposons également des gabarits pour d’autres violoncelles historiques. Pour en connaître la disponibilité, contacte notre équipe à <a href="mailto:comercial1@maderas-barber.com">comercial1@maderas-barber.com</a>. Modèles disponibles:</p>\n
<ul>\n
<li>Stradivarius “Davidov” – 1712</li>\n
<li>Montagnana “Sleeping Beauty” – vers 1749</li>\n
<li>Guarneri “Piatti” – 1710</li>\n
<li>Amati – vers 1620</li>\n
</ul>\n
<p>*Les photographies sont présentées à titre d'illustration uniquement. Le set que vous recevrez est spécialement conçu pour le modèle Stradivarius Davidov 1712.</p>\n
<h2><strong>Caractéristiques Techniques</strong></h2>\n
<ul>\n
<li><strong>Instrument</strong> : Violoncelle</li>\n
<li><strong>Modèle</strong> : Stradivarius “Davidov” 1712</li>\n
<li><strong>Matériau</strong> : Acrylique transparent, MDF et styrène</li>\n
<li><strong>Épaisseur</strong> : 1 mm / 2 mm / 3 mm</li>\n
<li><strong>Moule inclus</strong> : Non</li>\n
</ul>
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<li><strong> Dimension : </strong> A-2 (<span>420 x 594mm <span> ) </span></span></li>\n
<li><strong> Échelle : </strong> 1:1</li>\n
<li><strong> Dimensions du plan : </strong> En Millimètres.</li>\n
<li><span> <strong> Quantité : </strong> 4 Feuilles <span> </span></span></li>\n
<li><strong> Feuille 1 : </strong> Design de chevalet, Tête, rosace, Talon</li>\n
<li><strong> Feuille 2 : </strong> Design de table intérieure et barres d'éventail </li>\n
<li><strong> Feuille 3 : </strong> Design de Touche, manche et section caisse de résonance</li>\n
<li><strong> Feuille 4 : </strong> Notes</li>\n
<li><span> <strong> Conçu par : </strong> Roy Courtnall <span> </span></span></li>\n
<li><strong> <strong> <strong> <strong> Description : </strong> </strong> </strong> </strong> Il existe de nombreuses façons de concevoir l'intérieur et l'épaisseur de la table d'une guitare classique. La sagesse conventionnelle considérait la table d'harmonie comme un élément unique, composé de différentes essences de bois, qui vibrent lorsque les cordes sont pincées - cette multitude de vibrations contribue à la tonalité générale et à la projection du son produit par la caisse de résonance. Cette approche présente de nombreux avantages, mais l'un des problèmes est qu'une partie de l'énergie produite par la corde jouée est perdue lorsqu'elle se déplace dans les éclisses, le fond, la manche et même le corps du guitariste. \n
<p>Il existe de nombreuses variantes de cette approche du "Lattice", les plus extrêmes étant parfois critiquées pour être trop "banjo", avec un son pénétrant mais non soutenu et une perte de la chaleur traditionnelle du son de la guitare classique espagnole. Avec une utilisation prudente du bois, des épaisseurs et des barrages intérieurs, il est possible de créer une guitare avec un "son" traditionnel, tout en ayant une plus grande projection, avec un bon équilibre entre les graves, les médiums et les aigus, ce qui en fait un plus grand plaisir à jouer. </p>\n
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<p> </p>\n
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<li><strong> Dimensions du plan : </strong> En Millimètres.</li>\n
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<li><strong> Feuille 3 : </strong> Design de 2 tables intérieures et barres d'éventail</li>\n
<li><strong> Feuille 4 : </strong> Design Touche, manche et section caisse de résonance</li>\n
<li><span> <strong> Conçu par : </strong> Roy Courtnall <span> </span></span></li>\n
<li><strong> <strong> <strong> Description : </strong> </strong> </strong> Les guitares à double bouche ont été fabriquées au début du XXe siècle, principalement par le luthier espagnol Francisco Simplicio, né à Barcelone en 1874. Simplicio utilisait une variante de la barre d'harmonie traditionnelle. Les fabricants contemporains ont expérimenté différentes conceptions de barres d'harmonie dans le cadre des paramètres de la table d'harmonie élargie, obtenue en déplaçant les ouvertures vers la partie supérieure de la guitare. La conception traditionnelle de la barre de son de Lattice présentée ici donne à la guitare un volume, une projection et un sustain exceptionnels. Les plans illustrés ici montrent à la fois un double design semi-circulaire et un design double bouche de son circulaire</li>\n
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<h2><strong>Gabarits et Moule Violon Guarneri Cannone 1743</strong></h2>\n
<p>Ce set est conçu pour t’offrir une base de travail précise et durable. Il comprend tous les gabarits nécessaires pour tracer l’instrument complet : contours externes et internes, voûtes, pointes, ouïes et manche. Les pièces sont découpées dans de l’<strong>acrylique transparent rigide de 2 mm</strong>, du <strong>MDF de 3 mm et 12 mm</strong> et du <strong>styrène flexible de 1 mm</strong>, des matériaux stables et adaptés à une utilisation régulière à l’atelier. Le tout est complété par <strong>des tiges en acier</strong> pour le moule interne, garantissant rigidité et <strong>cohérence du traçage</strong>.</p>\n
<p><strong>Le kit comprend :</strong></p>\n
<ul>\n
<li>1 Moule interne – MDF 12 mm – rigide</li>\n
<li>1 Gabarit externe – acrylique 2 mm – rigide</li>\n
<li>1 Gabarit interne – acrylique 2 mm – rigide</li>\n
<li>8 Gabarits de voûte – MDF 3 mm – rigide</li>\n
<li>2 Gabarits de pointe – MDF 3 mm – rigide</li>\n
<li>1 Gabarit de manche – acrylique 2 mm – flexible</li>\n
<li>1 Gabarit d’ouïe – styrène 1 mm – flexible</li>\n
<li>2 Tiges – acier</li>\n
</ul>\n
<p>Ce set est basé sur le modèle <strong>Guarneri del Gesù “Il Cannone” 1743</strong>, rendu célèbre par Niccolò Paganini. Il se distingue par une caisse légèrement plus courte et plus profonde, ainsi qu’un manche nettement courbé — des éléments qui participent à sa puissance sonore et à sa grande résonance.</p>\n
<p>Nous proposons également des gabarits pour d’autres violons historiques. Pour connaître la disponibilité, contacte notre équipe à l’adresse suivante : <a href="mailto:comercial1@maderas-barber.com"><strong>comercial1@maderas-barber.com</strong></a>. Modèles disponibles :</p>\n
<ul>\n
<li>Giovanni Paolo Maggini – Violon 1630</li>\n
<li>Carlo Giuseppe Testore – Violon 1703</li>\n
<li>Pietro Guarneri de Mantoue – Violon 1704</li>\n
<li>Antonio Stradivari – Violon 1709 “Viotti”</li>\n
<li>Antonio Stradivari – Violon 1727 “Benvenuti”</li>\n
<li>Antonio Stradivari – Violon 1734 “Willemotte”</li>\n
<li>Carlo Bergonzi – Violon 1735 “Baron Knoop”</li>\n
<li>Guarneri del Gesù – Violon 1735 “Plowden”</li>\n
<li>Guarneri del Gesù – Violon 1741 “Vieuxtemps”</li>\n
<li>Guarneri del Gesù – Violon 1741 “Kochánski”</li>\n
<li>Guarneri del Gesù – Violon 1745 “Leduc”</li>\n
<li>Giovanni Battista Guadagnini – Violon 1774 “Salabue”, “Berta”</li>\n
</ul>\n
<p>* Les photographies sont présentées à titre d'illustration uniquement. L'ensemble que vous recevrez est spécialement conçu pour le modèle Guarneri Cannone 1743.</p>\n
<h2><strong>Caractéristiques Techniques</strong></h2>\n
<ul>\n
<li><strong>Instrument</strong> : Violon</li>\n
<li><strong>Modèle</strong> : Guarneri del Gesù “Il Cannone” 1743</li>\n
<li><strong>Matériau</strong> : Acrylique transparent, MDF et styrène</li>\n
<li><strong>Moule</strong> : modèle “Cannone”</li>\n
<li><strong>Tiges</strong> : Acier</li>\n
</ul>
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<p>Le <strong>porte-mines de précision Graphgear 500 est un outil pour dessiner et écrire avec précision</strong>. Son design à pointe longue de 4 mm est <strong>parfait pour les luthiers qui, comme vous, ont besoin de travailler avec des règles et des gabarits</strong>.</p>\n
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<li><strong> Dimension : </strong> A-2 (<span>420 x 594mm <span> ) </span></span></li>\n
<li><strong> Échelle : </strong> 1:1</li>\n
<li><strong> Dimensions du plan : </strong> En Millimètres.</li>\n
<li><span> <strong> Quantité : </strong> 3 Feuilles <span> </span></span></li>\n
<li><strong> Feuille 1 : </strong> Design de chevalet, Tête, rosace, Talon</li>\n
<li><strong> Feuille 2 : </strong> Design de table intérieure et barres d'éventail </li>\n
<li><strong> Feuille 3 : </strong> Design Touche, manche et section caisse de résonance</li>\n
<li><span> <strong> Conçu par : </strong> Roy Courtnall <span> </span></span></li>\n
<li><strong> <strong> <strong> <strong> Description : </strong> </strong> </strong> </strong> Santos Hernández a été le fabricant de guitares flamenco le plus talentueux et le plus célèbre du XXe siècle. Son travail de perfectionnement du design de la guitare flamenca a contribué à en faire un instrument de qualité, très différent de la guitare classique. La guitare flamenca diffère de la guitare classique de deux manières principales. La première réside dans le choix des bois utilisés et la seconde dans la conception et l'épaisseur des composants. Les barres harmoniques de la guitare flamenca sont généralement assez simples, car le son terreux, plutôt libre et ouvert, est mieux obtenu si la caisse de résonance n'est pas trop contrôlée dans sa façon de vibrer. Santos Hernandez a utilisé sept barres de vent, au lieu de barres d'arrêt à l'extrémité inférieure de la guitare. Le poids de la guitare est réduit au minimum grâce à l'utilisation d'une caisse de résonance fine et d'un cyprès fin pour le fond et les éclisses (car il est beaucoup plus léger que le palissandre). Si vous envisagez de fabriquer votre première guitare flamenca, c'est le modèle idéal à suivre.\n
<p><span> <span> </span></span></p>\n
</li>\n
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<h2>Mastering the Sound of the Acoustic Guitar. Giuliano Nicoletti</h2>\n
<p>Vous vous êtes déjà demandé comment <strong>mesurer le son</strong> des guitares que vous construisez? Comment donner personnalité sonore à chaque pièce avec une méthode simple? Comment choisir le meilleur bois pour votre projet, ou comment <strong>résoudre les problèmes de résonances ou de notes fantômes</strong>?</p>\n
<p><strong>"Mastering the Sound of the Acoustic Guitar"</strong> est un manuel d'atelier destiné aux fabricants de guitares, qui explique comment fonctionne la guitare acoustique, comment modeler le son qu'elle produit et comment le mesurer d'une manière simple et reproductible. De l'évaluation technique et de la sélection des bois à la <strong>mise au point des performances de l'instrument</strong> pendant la construction ou à la résolution des problèmes acoustiques d'un instrument fini, tels que les notes fantômes.</p>\n
<p>Avec la base de données de nombreuses mesures illustrant chaque étape, un <strong>ensemble complet d'outils de calcul et de simulation est disponible en téléchargement.</strong></p>\n
<p>Ce manuel est le choix idéal pour améliorer l'identité sonore et les performances de tout type de guitare acoustique et classique, tant pour <strong>les fabricants de guitares que pour les ateliers de réparation et de maintenance</strong>, avec 160 pages de photos, d'illustrations et de graphiques imprimés en couleur.</p>\n
<p>"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. He does not present one way as the best — after all, it's all so subjective." <strong>Zach Lefebvre, Treehouse Guitars</strong></p>\n
<p>"For those wanting to understand the dynamics of a coupled acoustic system 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 and is not a substitute for empirical experience. I wish this book had been written 30 years ago." <strong>Michael Greenfield, Greenfield Guitars</strong></p>\n
<h2><b>Caractéristiques</b></h2>\n
<p><b>Auteur : Giuliano Nicoletti</b></p>\n
<p><b>Langue : anglais</b></p>\n
<p><b>Reliure : rigide</b></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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<li><strong> Échelle : </strong> 1:1</li>\n
<li><strong> Dimensions du plan : </strong> En Millimètres.</li>\n
<li><span> <strong> Quantité : </strong> 3 Feuilles <span> </span></span></li>\n
<li><strong> Feuille 1 : </strong> Design de chevalet, Tête, rosace, Talon</li>\n
<li><strong> Feuille 2 : </strong> Design de table intérieure et barres d'éventail </li>\n
<li><strong> Feuille 3 : </strong> Design Touche, manche et section caisse de résonance</li>\n
<li><span> <strong> Conçu par : </strong> Roy Courtnall <span> </span></span></li>\n
<li><strong> <strong> Description : </strong> </strong> <span>Manuel Ramírez est né à Alhama en 1864. Son frère aîné, José, lui a appris à fabriquer des guitares et, à l'âge de 27 ans, en 1891, il s'est installé à son compte. Manuel est devenu l'un des fabricants de guitares les plus réputés de son époque, remportant des médailles lors de plusieurs expositions pour l'excellente qualité de ses guitares. En plus des guitares classiques espagnoles, il produisait également des instruments à onze cordes. Segovia était très impressionné par les guitares de Ramírez et en a joué à plusieurs reprises. Les guitares de Ramírez sont influencées par Hermann Hauser et les plans de Ramírez fournis ici permettent de construire une guitare de concert standard puissante. <span> </span></span></li>\n
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<li><strong> Feuille 3 : </strong> Design Touche, manche et section caisse de résonance</li>\n
<li><span> <strong> Conçu par : </strong> Roy Courtnall <span> </span></span></li>\n
<li><strong> <strong> <strong> Description : </strong> </strong> </strong> Daniel Friederich est le luthier français le plus célèbre des trois ou quatre dernières décennies : il a suivi la tradition des luthiers français initiée par Robert Bouchet. Les guitares Friederich sont aujourd'hui jouées dans le monde entier par les meilleurs guitaristes professionnels. La qualité de fabrication de Friederich est superbe, et chaque instrument est un chef-d'œuvre de sonorité et de savoir-faire. Il a développé plusieurs designs innovants dans la disposition des barres de tonalité, dont certains incluent une "barre de chevalet", une idée également utilisée par Robert Bouchet. Mais dans le cas de Friederich, il a affiné les dimensions des barres harmoniques et l'épaisseur des têtes pour obtenir des résultats cohérents. Friederich teste également avec soin la qualité de tous les bois qu'il utilise, afin de déterminer avec précision la résistance ou la flexibilité d'une pièce donnée. Cela l'aide à déterminer les dimensions optimales de ce composant. Le plan proposé ici est l'un de ses modèles les plus réussis et permet aux luthiers les plus avancés d'étudier le design sophistiqué de l'un des meilleurs maîtres de la guitare de ces derniers temps.\n
<p><span> <span> </span></span></p>\n
</li>\n
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<li><strong> Feuille 2 : </strong> Designde table intérieure et barres d'éventail </li>\n
<li><strong> Feuille 3 : </strong> DesignTouche, manche et section caisse de résonance</li>\n
<li><span> <strong> Conçu par : </strong> Roy Courtnall <span> </span></span></li>\n
<li><strong> <strong> <strong> Description : </strong> </strong> </strong> Marcelo Barbero fut l'un des principaux fabricants de guitares flamenco, élève de José Ramírez II. Après la mort de Santos Hernández, Barbero a travaillé pour la veuve de ce dernier, Mathilda Ruiz, afin d'achever les commandes déjà passées. Cette expérience lui a donné un aperçu unique des outils et des méthodes de travail du grand Santos Hernández, ce qui a peut-être partiellement influencé Barbero, dont les guitares flamencas sont aujourd'hui encore considérées comme parmi les plus belles jamais fabriquées. Le plan présenté ici tient sur trois feuilles de papier de format A2 et fournit toutes les mesures avec des dessins en taille réelle à partir desquels une réplique proche peut être faite. Idéal pour ceux qui souhaitent construire une guitare flamenca, peut-être avec l'autre grand fabricant de flamenco, Santos Hernandez, dont les plans de guitare sont également disponibles ici.</li>\n
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