Classical guitars are different from mainstream folk guitars-most of them are nylon strings, bass strings are wrapped in nylon, and bronze or silver-plated copper wires are used. The total tension of the six strings is about 38kg, which is almost half that of the folk guitar, so it feels soft and can pop up at a higher switching and playing speed.
The neck of classical guitar is wide, generally between 43 ~ 44mm, and the common one is 43 ~ 44mm. Compared with the mainstream width of folk guitar of 43 ~ 43 ~ 44mm, classical guitar can play more delicate and complicated fingering changes when playing. In addition, the timbre of nylon is warm and balanced, and it is not susceptible to sudden changes in the bass and treble strings of steel guitar, which is more suitable for solo than the classical guitar playing folk guitar.
This paper focuses on the acoustic acoustic guitar of classical guitar:
1, panel
The panel is the most important part of the guitar, and so is the classical guitar. The influence of panel on the basic timbre of guitar is about 80%, so it can be said that the main line of timbre is determined by panel. One of the top panels of classical guitar is German spruce, or other spruce with performance close to German spruce. Because German spruce is very rare, but fortunately, Italy, Yugoslavia, Switzerland and other places also have excellent spruce production, and its performance is very close to that of German spruce. Many people like to compare spruce with Adirondack spruce in America. In fact, these two kinds of spruces are excellent spruces, and they do have similarities in performance, but they are quite different in timbre. Adirondack is the holy grail of steel guitar, and spruce performs well on steel guitar, but it is originally the top material of classical guitar and is rarely used on steel guitar.
The basic timbre of spruce is very good, and the bass, intermediate frequency and treble bands are also well balanced, and the overtone output is excellent, so that it can produce clear sound quality when playing with different dynamics. Unlike Ingermann spruce, there will be no "broken" sound with a little effort, and it will not be able to "drive" with a little effort like Stica, resulting in a thin timbre.
It is precisely because of its relatively comprehensive and balanced timbre characteristics that it complements nylon thread and becomes the first choice panel for German classical guitars.
In recent years, more and more luthiers have found that cedar is actually very suitable for classical guitars, and even many guitar lovers mistakenly think that classical guitars should use cedar instead of spruce as the panel. In fact, different acoustic wood has unique characteristics, there is no absolute good or bad, only suitable for music style and personal likes and dislikes.
The timbre of spruce is bright, while cedar is moist and mature. Cedar doesn't have to go through a long "open period" like spruce. It is estimated that it will take up to 20 years for spruce's classical guitar to reach the timbre maturity of Cedar's new piano. Of course, spruce has advantages of spruce. In addition to personalized timbre, spruce is nearly 25% harder than cedar and has a long life. Cedar, on the other hand, has a disadvantage, that is, its timbre is a bit "yin", so it is omnipotent without a guitar. What kind of timbre you like, you have to give up some characteristics, which is something that classical guitar lovers have to think over and over again before buying Aegean Sea.
Step 2: Back
If the panel determines the main line of timbre, then the following is to modify, assist and render timbre.
Like folk guitars, the backs of classical guitars are also varied, and there are two main types:
Red sandalwood is the first choice for folk guitars, and so is classical guitars. Rosewood is rich in bass, sweet in alto and rich in treble. Powerful timbre rendering can make up for the lack of nylon string strength and make the timbre output of guitar have a little "metallic taste".
If rosewood is a model of "metallic taste", then peach heart is a representative of "wood taste". Mahogany doesn't have a strong bass, but the three frequency bands are well balanced and the intermediate frequency output is excellent. From a certain point of view, if nylon and Chinese fir are in pursuit of balance, then mahogany is a good back choice. It's just that the tone of the peach heart is the same as that of cedar, slightly "rough".
Of course, timbre is a very emotional commodity, not to say that peach hearts are not as good as rosewood, but that many problems are preconceived. For example, Brazilian rosewood was completely cut down and the global embargo imposed, so people began to adopt Indian rosewood. In fact, Indian rosewood is also an excellent acoustic wood, but people are preconceived about Brazilian rosewood, so they always like to compare the two, and always think that Indian roses are not as good as Bamei. But to be fair, the price difference is ten times or even dozens of times, and the timbre difference is only 5~ 10%, and it is a difference, not a good one. Whether it is worth it can only be left to the piano friends to judge for themselves.
I'll make up a joke for you Please arrange the beginning and end by yourself. Don't worry, I just wrote it casually. Your teacher can't find the essence of this thing.