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The maple thread
Some more questions about maple here (I know the importance of the top wood, builder, bracings and so on, it's just a pure theoretic question):
1. I was wondering what mechanical aspect had to do with european maple's (Acer Pseudoplatanus) tendency to dampen some frequencies, does it have to do with the wood hardness/softness, or stiffness, density...? 2. I am also wondering why some describes european maple as sounding "loud", when this tonewood is just damping some frequencies? On Martin's website, european maple's description is: "Also called Fiddleback or Tiger Maple. Traditional tonewood for violins. Highly dense and reflective, wood yielding a loud, projective, and sustained tone" 3. The fact that maple is said to have a quick response, isn't it antagonist to having a slow velocity?
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Furch OM 32 SM Cordoba Maple Fusion 14 Esp Horizon NT Jackson US Soloist Youtube - Reverbnation - Twitter - Facebook |
#2
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Johan,
The sooner you start ignoring most of those things you've read, the better. Seriously. Violins have as much sustain as the bow is long. :-) HE |
#3
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Quote:
Just trying to get some better theoretic understanding
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Furch OM 32 SM Cordoba Maple Fusion 14 Esp Horizon NT Jackson US Soloist Youtube - Reverbnation - Twitter - Facebook |
#4
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The bowed family use -mainly- maple for back & side because at the time (end of 17th/beginning of 18th century), maple was, among the locally available woods, the one which fitted the bill the best. Guys like Guarnerius or Stradivarius tested just about everything for top, side and back, and for the bow, too. They settled on spruce, maple, and pernambouc, respectively, then tradition came, and in that field, the tradition is *strong*.
When I was 20, I was an apprentice in Mirecourt, and I was going to be the next Stradivarius, I tell ya... It didn't take long (like a few days) for me to back up solid. Don't take lightly 3 centuries of experimentation. A lot of people tried to built a better violin, specially the french school in the 19th century. And they were mighty good. Not enough to change anything, tho. It's a case of : if it don't break, don't fix it. Now, I'm sure you can build violin with, say, mahogany. Or oak, or walnut. Actually it has been done. Problem is, the classical music players (the big violin market) don't feel a urge to use *that* sound or look, whatever it is. So... And, BTW, find a guitar you like, and play it. Or, better yet, find *several* guitars you like. Have fun. |
#5
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Quote:
__________________
Furch OM 32 SM Cordoba Maple Fusion 14 Esp Horizon NT Jackson US Soloist Youtube - Reverbnation - Twitter - Facebook |
#6
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As far as I know, all wood should have dampening qualities when it comes to sound, it's the degree of dampening and which specific frequencies of sound that a wood dampens more in comparison to other ones that makes tonewoods different from each other. So maple is "loud" because it is compared to other guitars built with other tonewoods, and more often than not it DOES make a louder guitar relative to most other tonewoods
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*insert deeply meaningful and philosophical quote |
#7
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+1! But what about under a Blue Moon at >32.04 inHg with Relative Humidity steady at 45% and an ambient temperature at 72 degrees Fahrenheit?
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Martin HD-28 Sunburst/Trance M-VT Phantom Martin D-18/UltraTonic Adamas I 2087GT-8 Ovation Custom Legend LX Guild F-212XL STD Huss & Dalton TD-R Taylor 717e Taylor 618e Taylor 614ce Larrivee D-50M/HiFi Larrivee D-40R Blue Grass Special/HiFi Larrivee D-40R Sunburst Larrivee C-03R TE/Trance M-VT Phantom RainSong BI-DR1000N2 Emerald X20 Yamaha FGX5 Republic Duolian/Schatten NR-2 |
#8
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Quote:
__________________
Martin HD-28 Sunburst/Trance M-VT Phantom Martin D-18/UltraTonic Adamas I 2087GT-8 Ovation Custom Legend LX Guild F-212XL STD Huss & Dalton TD-R Taylor 717e Taylor 618e Taylor 614ce Larrivee D-50M/HiFi Larrivee D-40R Blue Grass Special/HiFi Larrivee D-40R Sunburst Larrivee C-03R TE/Trance M-VT Phantom RainSong BI-DR1000N2 Emerald X20 Yamaha FGX5 Republic Duolian/Schatten NR-2 |
#9
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Quote:
__________________
Furch OM 32 SM Cordoba Maple Fusion 14 Esp Horizon NT Jackson US Soloist Youtube - Reverbnation - Twitter - Facebook |
#10
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Maple
This may or may not be a related question, but here it is.
Why should damping or sustain be an issue on a bowed instrument? There's a constant source of energy input, the bow, unlike guitar, where the string is momentarily struck and left to ring. |
#11
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This is perfectly right concerning the sustain, but damping certain frequencies affects the tone directly, even with a bow, doesn't it?
__________________
Furch OM 32 SM Cordoba Maple Fusion 14 Esp Horizon NT Jackson US Soloist Youtube - Reverbnation - Twitter - Facebook |
#12
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Damping
So I guess we're talking about frequency response rather than damping?
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#13
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Isn't that related? As the frequency response will be impacted of the tonewood damping properties?
__________________
Furch OM 32 SM Cordoba Maple Fusion 14 Esp Horizon NT Jackson US Soloist Youtube - Reverbnation - Twitter - Facebook |