beautifully played, Gary! I was really intrigued by the first video as I don't think I've ever heard you play on a cedar guitar before. All of the guitars have such a notable color palette for this music though, I really enjoyed all of the performances. Congrats and hope to see you soon.
Hello. good show. Hmm,,,,I would like very much to see what pattern the bouncy particles would form with the strings on up to pitch, then with a violin bow make the SB undulate like crazy. and it does!. Have you or anyone else tried this.?? This method is how we find the "anti node for bridge location" on the guitars we make. But we don't use particles!! instead a K&K pick up glued on a pencil or a small stick, touching areas on the SB and passed through an amp. = Amazing acoustic revelations!! it's easy. Old Ernst might raise an eyebrow, he didn't have the electro wizardly things we have now.
Bravo Gary! I love the way you play my music, so heartfelt. And that you also made these guitars, wow! They sound absolutely beautiful, so well balanced with a lovely sound. What a talent you are!
Excellent video series. Loving your approach with the objective scientific applications as well as the personalized insights. I’m wondering if you have experience with live back applications of your thinning approach? Do you experiment in that realm or use the more traditional rigid?
Hi Garrett, this is very exiting, you are giving really exact principles for guitar building, especially forming the tone. Thank you so much for this excellent job.
this is the best explanation about “sounding” the “tone” wood on an acoustic instrument that I watched so far. And I did watch a lot of tapping videos where people want to come across as some kind of sound gourous, wanting to mystify the process and perhaps their own importance.. instead of just explaining the real world principles within which they operate. What I still don’t understand is why it has to be a wood plank and not some other material.
i guess it doesnt HAVE to be wood but he clearly says in the video wood is a great material due to its properties of being resonant lightweight and its strength and of course its ability to be manipulated and sculptured to give you the sound you want
You just overwelmed me. I'm a wanabe luthier on my free time. I've built about 10 string instruments. Each and every time there is something new to take in consideration. I had a narrow view of the sound and physics universe before. Now I'll have to take all of this in consideration too. Thanks so much for your time and effort. Loved the video. Explained it perfectly understandable for an idiot like me. Idiot for ideas... Best regards from Portugal
Dear Garrett, excellent video! You are very gererous to share your experience. Very inspiring, the information as well as the attitude. Thanks a lot and cordial greetings. Sascha
Hi Garrett, I really appreciate all of your videos. I was wondering your opinion on how much the age of the wood matters for a sound board (or even the back and sides). All things being equal with your precise flexibility measurements and bracing techniques, what difference would an aged piece of wood make in sound quality? Thanks!
great video, thank you for sharing your methods. Can i ask, do your guitars have a consistent body resonance? if so, can you asses at this stage, what resonance this guitar will end up at?
Hello sir. Does the string tension affect the natural frequency patterns of the guitar?. Does it also affect the membranes, as skin on banjo? If yes, can we add braces to the membrane to craft some sound, or it that just not as usefull?
Very interesting presentation. To my ear the engelman spruce when tapped always has a more musical sound. When you look at the spectrum it appears that the engelman has lower values between the harmonics -- the curve dips down more. Could you please comment on whether this damping between harmonics is a real factor in how musical an instrument sounds? Thank you.
Awesome video! I'm a violinist learning guitar, and I wonder why violin has soundpost that connects the soundboard to the back, but guitar doesn't? Guitar has a lot of bracing, but violin only has one bass bar. And I find it interesting that your fingerboard is not glued to the soundboard, but the neck runs all the way to the soundhole.
