乔治。林奇的音色个人的确认为很难听 非常好贴！ 全桃花心木的琴 轻了好？还是重了好 ？ 好帖
学习一下
提个问题
如果做一根传导性很好的可以嵌入琴身的琴筋
这么做会怎样？ 只有northern spruce(北方云杉) 适合制作木吉他.
就是因为在寒冷的北方夏季很短, 使得云杉的浅色纹路很细, 同时和深色的纹路非常紧密的排列在一起
从我的理解来看, 越硬、密度越高的木材, 会有更好的振动, 尤其是高频传输的更多.
这段不知道是你翻译的问题还是他自己本身的问题
我觉得他应该多去请教一下专门制作木琴的师傅们 原帖由 陶瓷清爽 于 2009-2-17 11:46 发表 http://bbs.guitarschina.com/images/common/back.gif
只有northern spruce(北方云杉) 适合制作木吉他.
就是因为在寒冷的北方夏季很短, 使得云杉的浅色纹路很细, 同时和深色的纹路非常紧密的排列在一起
从我的理解来看, 越硬、密度越高的木材, 会有更好的振动, 尤其 ...
应该是在某个值的范围内吧？
要不然的话干脆找块儿石头得了，那玩儿密度大！硬！ 让我在意的是这句话
“只有northern spruce(北方云杉) 适合制作木吉他.”
而且我知道云杉是做面板的好材料
但是说这话。。。
让人着实误会很深 Only northern spruce is suitable for acoustic guitars because the short summer produces many strong dark layers close together.
原文
我也不太理解不过我还是照样翻一下
别担心, 不会影响一代人的健康 要联系上下文来看的
没猜错的话
这个人真的是比较喜欢发帖的 你这厮...我都给你
Obviously, Don’s the bigtime expert on this issue, but I think there are some basic ideas that I can contribute and we can talk about as a community until the FAQ is done.
One thing that is important is that different species of wood have different average densities.
The second very important issue is whether the wood has uniform grain, or bilayer grain and pronounced growth rings.
Woods like maple and alder have very even density throughout any single piece, and different pieces from different trees tend to be relatively uniform. The grain in these species is even, with fine dark growth ring lines.
Other woods, such as swamp ash and mahogany, have a bilayer grain with wider, more uneven growth rings and large dark areas. The dark parts of the growth rings are much denser, heavier, and stiffer than the light parts. Depending on how much light and dark meat you get in an individual sample, there can be wide variation in weight and tonal qualities.
The strength of the woods with pronounced bilayer grain tends to vary more or less linearly with their weight. The shorter the summer, the tighter the grain, the more dark layers, the stronger and heavier the wood.
Only northern spruce is suitable for acoustic guitars because the short summer produces many strong dark layers close together.
As I understand it, the stiffer and denser the wood, the better vibrations, especially high frequencies, are transmitted.
However, there is a limited amount of energy in a vibrating string. It needs to cause the guitar to vibrate and bounce that energy back with different overtones to give it “tone.”
An infinitely dense and hard guitar body would transmit frequencies well, but would absorb all the energy of the string before it gave anything back. An example of this would be a solid maple on maple guitar, especially a large one, like a a set neck. The closest example of this I can think of would be George Lynch’s tiger charvel, which is solid maple with a maple neck, weighing in at 12 or 14 lbs. His tone with that guitar has an outrageous popping attack, and not much in the way of sweet sustain. Overbuilt acoustics can sometimes have a little bit of this banjo-y sound, but the large amount of glue on most examples tends to roll off the high end.
Extremely light guitars are usually going to be summer-y swamp ash. Swamp ash tends to sound scooped from the interplay of the two densities of the wood, with the dark layers transmitting highs well, and the pillowy white layers providing the thump. Lighter swamp ash will tend to start damping those highs. However, as the guitar gets lighter, you get a more blooming sustain, as the string vibration has no problem setting the whole guitar on fire, you get a lot more of those overtones bouncing back. An extreme example would be the sound of a very light spruce archtop electric — almost uncontrollable feedback. This would be a practically useless guitar for George Lynch, but if you wanted a rolled-off attack with a blooming sustain — presto. A very light ash strat will have a touch of this.
Mahogany has a tighter envelope than ash, in terms of the difference between a very dense piece vs. very light. Also, the difference between the light and dark parts is less, giving it bigger mids.
Alder, there’s very little difference throughout, or between pieces. It transmits all frequencies well, and has that pronounced upper midrange bite.
Maple has very little difference at all, and is so dense and stiff that only small amounts are used on any one guitar to keep it from being overbuilt.
The basic way to sweeten up a heavy piece of wood is to hollow it out. Air vibrates very easily, giving you midrange bloom. A soundhole boosts the lows. You get something like that bilayer quality of a medium piece of swamp ash or northern spruce between the very stiff dark wood, and substitute a chamber for the absent light wood.
Also a chambered piece of heavy wood won’t be neck heavy, and is also sturdier than if it were made of light wood, which would easily become damaged.
It’s not a mistake that most nice guitars are about the same weight, hollow or not. If you come across one that’s an aberration, listen carefully. It’s a matter of balance — most builders and players agree on about where the balance is. You might prefer to agree with George Lynch or Tal Farlow than with the main stream.
Lastly, one factor that’s not realy a consideration at Grosh, but which can dramatically increase the weight of a guitar and affect tone is the amount of glues and fillers. The more pieces of wood, the more glue, the more weight. However, glue is not stiff — it damps basically all frequencies and sounds bad. If there’s a heavy guitar with no attack, it’s main body material may be bondo.
I’m sure many people will have lots to say on this subject. This is only the very beginning of an answer, with almost no treatment of what the actual balance of sound should be, but hopefully it can be some holdover for Don’s FAQ and allow further discussion on the boards in the meantime. 嗯
看完了
却是是要结合语境看
这里暗指的是琴体木料
而且是仅仅代表他个人看法的
不要加在GROSH上 他算是 Grosh 的徒弟了~~ 现在是他的SandMan 原文里
还是体现着这个人一直在强调是个人的看法
他自己也应该心里明白
他的想法和GROSH还是有不少区别的
否则也不会这么说 突然让我想起ED来。。。
这厮貌似已经去SUHR混了 别人发帖问的Grosh，他出来回答问题，然后说明是自己的观点而已。
老外制琴师 一般讨论某个论题都会注明： 是根据自己的经验，或者是根据自己认知 得出的合适自己的理论，表示愿意和大家一起讨论。
很多事情并不是绝对的~不同制琴师的认知和对木材的处理方式也大不相同。 是啊
所以很佩服他们的严谨
不过我个人觉得单凭琴体重量就来判断音色与好坏的观点还是站不住脚的
因为消费者不可能从买到手的琴上去采样，然后再测试密度之类的。
所以还是要亲手弹过才知道琴的好坏。
就好比有人喜欢ASH的有人喜欢ALDER的一样。 我觉得他提供的是一些基本的理论
就好象物理课本一样 其实外国人都很主观的
你说什么他们就信什么
不过当自己发现不对的时候
就会全盘推翻以前自己的观点
所以也不用太拿国外论坛上说的当回事
毕竟自己买琴是给自己弹
不是给别人弹的 好贴，，，，，， wow.......................棒的都要骂街了 还是高手啊 那全乌木的琴是什么感觉 学东西啦 很有帮助 感谢
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