#76
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Tommy |
#77
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https://leonardo-guitar-research.com Try listening to the video and see if you can tell the various back and side woods apart. Good luck! |
#78
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Santa Cruz 000, Samick classical Last edited by hifivic; 10-06-2022 at 10:45 AM. |
#79
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https://asa.scitation.org/doi/10.112...4l98E3hC9w5Xv4 The abstract of the paper is:
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#80
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#81
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Imo, absolutely. Here is an interesting discussion just about the difference between rosewoods by some well respected builders.
https://thenorthamericanguitar.com/b...Zvkw%3D.VGhFLx |
#82
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Define 'difference'.
Significant differences in the most important properties of the back wood, particularly density, and also damping, do produce consistent differences in the response, all else equal. These differences are usually not large, and can be minimized by making changes in the structure. Given the innate variability of wood (and, in particular, in the top), and the variety of practice in construction, "all else" is usually not really "equal". Matched pairs of instruments, made using 'the same' wood, can, in my experience, be easily told apart by listeners/players in blind tests. There is no overall preference in general in terms of 'quality': they're simply perceived as 'different'. This is linked to small changes in the output in the range between 2000-4000 Hz, where normal hearing is most acute. Although most of these are probably due to local variation in the tops the back is inextricably bound up in the response in this range. Substituting a different back wood should make those differences larger or more numerous, but it's hard to say by how much. "A difference which makes no difference is no difference". |
#83
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This comment was deleted as further reading revealed that the content of my comment had already been brought up previously.
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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 |
#84
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Alan, would you agree that this can be used in the other direction as well? That is, some luthiers (or even just incidental design differences) can change structure to maximize/emphasize the differences? (I'll confess -for me- it's a rhetorical question).
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“The tapestry of life is more important than a single thread.” R. Daneel Olivaw in I. Asimov's Robots and Empire. |
#85
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gmel555 asked:
" That is, some luthiers (or even just incidental design differences) can change structure to maximize/emphasize the differences? " Sure. One of the issues in all of these 'magic wood' threads is the way they minimize the ability of the maker. Specific woods are treated as if the tone is 'fated', with little or no possibility of mitigation by the maker. Nobody can make a silk purse out of the proverbial sow's ear, of course, but a good maker can get surprisingly close to the desired sound with almost any reasonable wood combination if they're allowed to make the necessary changes. The more constraints the buyer imposes the less control the luthier has. Naturally we all tend to start out with the wood we think is going to produce the tone that's closest the desired outcome; it's easier when you're not fighting the wood. And all makers (and factories) tend to have 'their' sound: you would not ask Martin to make a Taylor, and my sound is probably a bit different from Howard's or Bruce's. There's a lot that goes into determining the sound of a guitar, and the wood is not as much of a factor as these threads imply. |
#86
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But still.... you're right.
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The Bard Rocks Fay OM Sinker Redwood/Tiger Myrtle Sexauer L00 Adk/Magnolia For Sale Hatcher Jumbo Bearclaw/"Bacon" Padauk Goodall Jumbo POC/flamed Mahogany Appollonio 12 POC/Myrtle MJ Franks Resonator, all Australian Blackwood Blackbird "Lucky 13" - carbon fiber '31 National Duolian + many other stringed instruments. |
#87
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#88
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Do different tone woods in laminate back and sides make a difference?
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1990 Martin D16-M Gibson J45 Eastman E8D-TC Pono 0000-30DC Yamaha FSX5, LS16, FG830, FSX700SC Epiphone EF500-RAN 2001 Gibson '58 Reissue LP 2005, 2007 Gibson '60 Reissue LP Special (Red&TV Yel) 1972 Yamaha SG1500, 1978 LP500 Tele's and Strats 1969,1978 Princeton Reverb 1972 Deluxe Reverb Epiphone Sheraton, Riviera DeArmond T400 Ibanez AS73 Quilter Superblock US[/I] |
#89
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Someone on another site contends that it is the top material and bracing that is the sound determining factor. He said that while Adi for fingerstyle playing gives him effortless volume and a greater variety of nuances.
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#90
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After thinking about it, I think there are other things that change the sound more than the wood... as mentioned before...Bracing, top material and thickness, Finish and type of finish material, open pore, satin etc..,
I seem to be attracted to open pore or satin finishes and shy away from thick shiny finishes... |