Engineering the Guitar: Theory and Practice by Richard Mark French

By Richard Mark French

Engineering the Guitar: conception and Practice uniquely describes the mechanics of the guitar for engineers and craftsmen alike. entire with informative illustrations, this renowned musical quantity describes the underlying mechanical suggestions at the back of the guitar, supported through conception and attempt. an in depth description of guitar electronics, paired with an in-depth research of sound caliber, appeals to clinical audiences in addition to musicians technically apt. Readers will achieve an figuring out of the technical habit of the tool with recognize to structural and part dynamics, as well as the informative remedy of analytical versions. handcrafted and mass produced recommendations also are tested in a bankruptcy dedicated to production processes.

Audiences drawn to mechanics, acoustics, and software making will locate Engineering the Guitar: conception and Practice an informative and relaxing read.

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Extra resources for Engineering the Guitar: Theory and Practice

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Unfortunately, there is no universal definition of timbre. A 1973 ANSI Standard [35] defines timbre succinctly: ‘Timbre is that attribute of auditory sensation in terms of which a listener can judge two sounds similarly presented and having the same loudness and pitch as being dissimilar’. This is essentially a subjective description in contrast to the objective definitions of loudness and pitch. There is a further problem in that there is often not even a subjective definition of what a ‘good’ sound is.

Even a relatively small fixed truss rod can have a major effect on the stiffness of the neck because of the differences in elastic modulus of the materials. 7 × 106 psi while the elastic modulus of steel is 29 × 106 psi. The elastic modulus of a unidirectional carbon fiber beam depends on the proportions of fiber and matrix, however, a typical value is 20 × 106 psi. 11 Placement of Fixed Truss Rod A tension rod generates an internal force in the neck to counter the deformation caused by string tension.

Only below this frequency do the two curves significantly diverge. This is reasonable since it is harder to isolate a chamber from low frequency noise than from high frequency noise. 4 dB. Human perception of sound levels is a function not only of frequency, but also of level. The A-weight filter addresses the frequency dependence, but not the level dependence. An additional measure of sound called loudness was developed to account for both the frequency and the amplitude dependence. Loudness is fundamentally different from SPL in that it is a subjective measure; the mathematical descriptions of loudness are based on the subjective responses of groups of listeners to test sounds.

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