brooks wrote: ↑
Tue Jul 11, 2017 7:38 pm
The craftsmanship is indeed impressive. I am curious though: Why did you invest so much time in the ornamentation for a first instrument, when achieving great acoustic results generally takes years of practice, much trial and error, and experimentation? I would have thought that for a first guitar, one would want to minimize the time investment in non-sound related features in the likely event that the tonal result was far from ideal.
Hi brooks, thank you very much for writing so much.Yes, your idea is correct, this is a normal logic.
I have spent two years looking for learning materials and learn, with my understanding of the craftsmanship, anything has its composition, I dismembered it in stages, practicing for the synthesis of a whole guitar, which is part of the woodwork. My understanding, begin to learn guitar making must endure the temptation of desire of a whole guitar to quick finish, not imperative, impatient and rash.
Acoustics part, I have read a lot of papers about the instrumental acoustics. when doing this guitar, has been initially aware of the guitar frequency response characteristics.Two years later to really start the whole synthesis, a complete guitar to make.
But, a question entangled me, to make a very common guitar? The cpmmon guitar is only a monotonous face, only the decoration, sometimes no complete design theme, as architect I am sensitive to the design. No, I want to personalize my guitar, it needs not only a good voice but also a nice face. This is the original intention of making this guitar, in fact, I have made this guitar twice, the first time , according to my understanding I am not satisfied with the sound, so I saw and open it, again and again. Well, that's the story of the guitar.
You can search YouTube for "Teil Koyunbaba_01_Yanguang Chen"
, this guitar I have made in last year.
Dipl. -Ing. Yanguang Chen