Acoustic Guitar: An Historical Look at the Composition, Construction, and Evolution of One of the World's Most Beloved InstrumentsHal Leonard Corporation, 2005 - 376 pagina's (Guitar Reference). Foreword by C.F. Martin IV. This comprehensive guide explains how to buy and maintain the guitar that matches your needs. From its beginning in European classical music, through American innovations like blues, jazz, country, and all the way to rock, pop and folk, the acoustic guitar's versatility is remarkable. This book covers all types of models with an emphasis placed on steel-string flattops, archtops and classical guitars. Topics covered include: How to tell the difference between a good sounding and bad sounding instrument; How much of the sound is determined by the wood; How to amplify and maintain its natural sound; How much money to spend in order to get an instrument that matches your level of playing; A color section illustrates historically significant instruments. |
Inhoudsopgave
Headstock | 1 |
The Makers Mark Trademarks Logos Etc | 2 |
Solid vs Slotted | 4 |
OnePiece vs Grafted | 5 |
Headstock Overlay | 6 |
Volute | 7 |
Truss Rod Access | 8 |
Size | 9 |
Flattop SteelString | 174 |
Pinless Bridges | 175 |
Nylon Strings | 176 |
Bridge Materials | 177 |
Saddles | 178 |
Saddle Slot | 179 |
Archtop Bridges | 181 |
The Back and Sides | 183 |
Angle | 10 |
SteelString vs NylonString | 11 |
Single vs ThreeonaPlate | 12 |
Open vs Closed Designs | 13 |
Cast or Stamped Metal | 15 |
Locking Designs | 16 |
Mounting | 17 |
Banjo Tuners On Vintage Guitars and KeithStyle Tuners | 18 |
Tuning Ratio | 19 |
Nut | 20 |
Natural Materials | 21 |
Synthetic Materials | 22 |
Compensated Nuts | 23 |
The Neck | 25 |
Flattop SteelString | 26 |
Archtop | 27 |
Resonator | 28 |
Shapes | 30 |
Materials | 31 |
One Piece or Multiple Pieces? | 32 |
Direction of Wood Grain Flatsawn vs Quartersawn | 33 |
Finish | 34 |
Bolton | 37 |
MortiseandTenon | 38 |
Variations FenderStyle Bolton TurnerHoweOrme Etc | 39 |
Neck Heel | 40 |
Heelcap | 41 |
Flat or Pointed | 42 |
Neck Angle | 43 |
Archtop | 44 |
Radius | 45 |
Position Markers | 46 |
Inlay Material | 47 |
Binding | 49 |
Function | 51 |
NonAdjustable Necks | 53 |
Material | 54 |
Size | 55 |
Scale Length | 56 |
Some Standards | 57 |
Fanned Frets Novax Etc | 58 |
Buzz Feiten System | 59 |
Strings | 61 |
Plain Strings Core Wire and Winding Material | 62 |
Bronze Steel Strings | 64 |
Phosphor Bronze Steel Strings | 65 |
Flatwounds | 66 |
SilkandSteel Strings | 67 |
Gut Strings | 68 |
Wound Nylon Strings | 69 |
Carbon Trebles | 70 |
Strings for Specialty Instruments | 72 |
String Care | 73 |
Body Styles | 75 |
Flattop Shapes and Sizes | 76 |
0 00 000 Concert Grand Concert Auditorium | 80 |
OM Orchestra Model | 86 |
Martins Switch from 12 to 14 Frets | 88 |
Jumbo | 89 |
MiniJumbo | 92 |
Parlor Guitars | 94 |
Other Flattop Shapes | 97 |
NylonString Shapes and Sizes | 100 |
Classical vs Flamenco | 101 |
Hybrid Instruments | 102 |
Archtop Sizes and Shapes | 103 |
ThinBody AcousticElectrics | 106 |
Ovations | 108 |
Cutaways | 110 |
Venetian Florentine or Maccaferri Style | 112 |
Double Cutaways | 113 |
Variations | 114 |
SelmerMaccaferriStyle Guitars | 115 |
Baritones | 116 |
Acoustic Basses | 117 |
Resonator Guitars | 118 |
Requintos and Terz Guitars | 120 |
Tenor Guitars | 121 |
SevenStrings | 122 |
Harp Guitars | 124 |
Weissenborns | 125 |
The Top | 127 |
Spruce | 128 |
Cedar | 130 |
Mahogany | 131 |
Other Woods | 132 |
Top Bracing | 134 |
Function | 135 |
Soundboard Bracing on Flattop Guitars | 136 |
Color Section | 137 |
Ladder Bracing | 153 |
Cross or XBracing | 154 |
Double X | 155 |
Kasha | 156 |
Scalloped Braces | 157 |
Ovations | 158 |
The Bridge Plate | 159 |
Lattice Bracing | 160 |
Kasha Bracing | 161 |
Tone Bar Bracing | 162 |
The Soundhole | 163 |
Size | 164 |
Rosette | 165 |
fHoles | 168 |
Unusual Placement | 170 |
Enlarged Soundhole | 171 |
Side Soundholes | 172 |
SlabCut Quartersawn Veneers | 184 |
Solid or Laminate | 185 |
Mahogany | 186 |
Indian Rosewood | 187 |
Brazilian Rosewood | 188 |
Maple | 190 |
Cypress | 192 |
Walnut | 193 |
Cherry | 194 |
Synthetic Materials | 196 |
Ovation Guitars | 197 |
Graphite Guitars | 199 |
Martin XSeries | 200 |
Construction | 201 |
Carved or Pressed for Arched Backs | 202 |
TwoPiece vs ThreePiece | 203 |
Taper | 204 |
Lining | 205 |
Neckblock | 206 |
Center Strip | 207 |
Glues and Finishes | 209 |
White Glue | 211 |
Solvent Glue | 212 |
Epoxy | 213 |
Conclusion | 214 |
French Polish | 215 |
Nitrocellulose Lacquer | 217 |
Catalyzed Polymer Finishes | 219 |
Colored Finishes | 222 |
Body Hardware | 225 |
Pickguards on Flattops | 226 |
Pickguards on Archtop Guitars | 229 |
Floating Pickguards on Flattop Guitars | 230 |
Temporary Pickguards | 231 |
Adding or Removing a Pickguard on a Flattop Guitar | 232 |
Strap Buttons | 233 |
Installing Strap Buttons | 234 |
Tailpieces | 236 |
Armrests and Guitar Supports | 238 |
Pickups and Electronics | 241 |
Active or Passive | 246 |
UnderSaddle Transducers | 247 |
Hexaphonic Pickups | 250 |
Soundboard Transducers | 252 |
Magnetic Pickups | 256 |
Flattops with Builtin Magnetic Pickups | 259 |
Magnetic Pickups for Archtop Guitars | 261 |
Mounting of Internal Mics | 262 |
Phantom Power | 263 |
Onboard Controls | 264 |
Volume | 265 |
Notch Filter | 266 |
Do I Need Onboard Controls? | 267 |
Output Jack | 268 |
Mono vs Stereo Jacks | 269 |
Outboard Gear | 270 |
Care and Maintenance | 273 |
Strings Frets and Fingerboard | 276 |
Adjusting the Truss Rod | 277 |
Adjusting Action | 279 |
Adjusting Intonation | 282 |
Tuning Difficulties | 283 |
Buzz Diagnosis | 285 |
Troubleshooting Electronics | 290 |
Installing Strings | 292 |
Steel Strings | 293 |
Nylon Strings | 301 |
Archtops | 306 |
A Brief Introduction to More Serious Repairs | 308 |
Broken Headstocks | 309 |
Unglued Bridges and Fretboards | 310 |
Neck Resets | 311 |
Special Considerations | 312 |
How to Store a Guitar | 314 |
How to Travel with a Guitar | 316 |
What to Look for When Buying a Guitar | 319 |
How Much Do I Have to Spend? | 320 |
Budget Instruments | 321 |
MidLevel SteelString Flattops | 323 |
MidLevel NylonString Guitars Classical and Flamenco | 325 |
HighEnd Guitars | 326 |
Archtop and SelmerMaccaferriStyle Guitars | 330 |
New vs Used | 333 |
Conditions and Repairs to Watch Out for with a Used Guitar | 334 |
Vintage Guitars | 337 |
Vintage Reissues | 339 |
FactoryBuilt or CustomMade | 341 |
What Does Handmade Mean? | 344 |
Amount of Ornamentation Appointments | 345 |
Should I Get an AcousticElectric If I Dont Really Need It? | 347 |
Buying Online and Through Mail Order | 348 |
Do I Need More Than One Guitar? | 350 |
A Look Into the Future | 353 |
Alternative Materials | 356 |
Improved Amplification | 357 |
HighTech Classicals | 358 |
Adjustable Neck Angle | 359 |
CNC and the Small Shop | 360 |
Coated Strings | 362 |
Decrease in Availability of Vintage Instruments | 363 |
SteelStrings Acceptance in Classical Music | 364 |
Final Thoughts | 365 |
About the Authors | 367 |
| 370 | |
| 373 | |
Overige edities - Alles bekijken
Acoustic Guitar: The Composition, Construction, and Evolution of One of ... Richard Johnston,Michael Simmons,Teja Gerken,Frank Ford Gedeeltelijke weergave - 2005 |
Acoustic Guitar: The Composition, Construction and Evolution of One of World ... Teja Gerken,Richard Johnston Geen voorbeeld beschikbaar - 2005 |
Acoustic Guitar: The Composition, Construction and Evolution of One of World ... Richard Johnston Geen voorbeeld beschikbaar - 2005 |
Veelvoorkomende woorden en zinsdelen
14-fret neck acoustic guitar acoustic-electric adjustable truss rod archtop guitars back and sides bass body braces Brazilian rosewood builders built buzzing carved classical guitar color company's cracks cutaway dreadnought early ebony electric guitars electronics endpin Epiphone factory fingerboard fingerstyle finish flamenco guitars flattop guitars flattop steel-strings fretboard frets Gibson glued Guild guitarists guitarmakers harp guitar headstock heel hide glue high-end inches inexpensive inlay installed instruments intonation jumbo lacquer laminated look lower bout luthiers magnetic pickups mahogany makers manufacturers maple Martin material metal models modern neck angle neck joint neckblock nylon nylon strings nylon-string guitars offer Ovation pickguard pin bridges plastic players playing popular preamp resonator guitars rosewood saddle scale length Selmer shape slotted headstock sound soundboard soundhole spruce standard steel strings steel-string flattops steel-string guitars string tension style tailpiece Taylor tone treble truss rod tuner tuning machines usually vintage guitars X-bracing

