#31
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I’ve never been a fan of the Taylor sound. However, I am impressed that Powers took the time to write a lengthy response explaining guitar design and did so at a depth/level rarely seen from any industry reps or insiders. That was class.
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#32
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This is more or less what I was speculating in the original multi-page thread on V-bracing:
"Well, I'm saying it could be actually be intonation in regards to how the notes coming out of the guitar are closer to the harmonic series produced by the strings. In other words, perhaps on a certain fret higher up on the fretboard, the string produces a fundamental frequency of 440 Hz (an A). But, after the note is coupled to the guitar, it might shift it to 440.5 Hz or something similar. I don't know if that's the case, but it could happen."
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#33
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Given that, IDK if any of the science referred to will make any difference in the finished product because when you try to apply science to something as subjective as tone the science doesn't mean much until you can observe the results. |
#34
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I don't think that Andy's goal is to build a sterile guitar with very little overtones, but to build one with less opposing ones or off tone ones. The V bracing is an attempt to guide the overtones into ones that are more like the primary one.
What comes to my mind is a twelve string guitar. I think most people can't tell when their 6 string is a tiny bit out of tune, from one string to the next, but if you have one of the strings of a 12 string pair off, it really is obvious. The tones are no farther off than most people play their 6 string, but because the 12 string pairs are SO close, the tones seem to highlight their differences. Perhaps Andy is trying to keep the top from resonating in harmonics that are a touch out of tune from the fundamental and related frequencies. Or, maybe I have missed his explanation by a wide margin. Could it be that the X bracing was not designed for best possible sound, but easiest way to make the top strong enough for steel strings and still light enough to resonate loud enough ?
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#35
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Not entirely true. It makes people think. :-) But you do have a point of course, so please read below.
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The only way I see subharmonics are generated by a guitar string is by the attack, not by the decay. The attack generates a wide frequency spectrum, which may excite resonant frequencies in the body that are dissonant with the harmonics of the decaying string. This is, however, no big deal. The dissonant attack lasts only a short while and has a very low Q (= a wide peak in the frequency curve, which corresponds to a ‘hissing’ sound). It’s like the ‘thud’ sound when you tap the bridge. You don’t perceive it as an harmonic distortion or ‘out-of-tune-ness’. With bowed instruments it’s a different story, because the bowed string feeds white noise into the body continuously, which may excite a dissonant body harmonic at high volume. These are the infamous wolf tones. But this does not happen on plucked string instruments. The way I see it, the best way to construct a guitar is to prevent or reduce resonant peaks in the frequency response curve. Just like room acoustics in a recording studio. But that’s another story.
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Last edited by Picker2; 03-07-2018 at 11:43 PM. |
#36
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I wonder whether the change is intended to get the top moving in a consonant way across a wider range of frequencies? The V-braced guitars do have a remarkably smooth sound with very little of the warm growl (my term, just the sound of the strings interacting) found in ‘normal’ steel strings.
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#37
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I once played a guitar (not a taylor) that sounded to my ear as being totally in synch with itself. Every string when strummed seemed to resonate exactly in line with each other and faded to silence at exactly the same rate. There was not a single overtone out - every part of the note seems to resonate in synch on every string. It was like playing a synthesizer except it was acoustic.
It was pretty nifty to play it and experience it for a few minutes but beyond that, the tone and even the resonance became so uniform that it was boring. You could say it was perfectly balanced in every way but if it is too coherent and in phase, it can end up sounding lacking in colour. Therefore i wonder if it may not be wholly desirable to have a top that vibrates too uniformly. Could it be that the chaos who is seen as the enemy by the v class bracing school is the very thing that helps make the tone interesting?
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#38
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#39
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#40
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No it was a lot more custom and expensive than an adamas...
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#41
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Good job :-).
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#42
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I expected much better though from that guitsr and it was disappointing to me in the end.
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In the end it is about who you love above yourself and what you have stood for and lived for that make the difference... |
#43
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I totally agree. (Sorry if that wasn't clear!) My intention was not to counter your reply, but to nuance it by pointing out that while someone not understanding or ever having heard of subharmonics isn't a reason to dismiss Andy's reply, it still remains to be demonstrated (at least to me) that the guitar generates subharmonics in the manner indicated by his reply.
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#44
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Last edited by Picker2; 03-08-2018 at 02:08 AM. |
#45
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Undertones in a resonating body are real. The church bell is the textbook example, where we hear a low drone somewhere near a major 6th below the Bell's fundamental resonant frequency.
My guess would be that for a vibrating piece of wood, the subharmonic content is minimal but contributes to the overall tone along with the imperceptible high-order overtones . |