Luthier's Dictionary
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JMC Soundboard the Loudspeaker Made out Tonewood
JMC Soundboard The loudspeaker made out tonewood www.jmclutherie.com Page | 0 Page | 1 www.jmclutherie.com The mission of JMC Lutherie is to ensure that lutherie puts down solid roots in 21st century reality and, wherever there is noise and sound, to harmoniously transform it into music. www.jmclutherie.com Page | 2 JMC Soundboard Sound at its most natural The “Soundboard” is named after the truly attending a concert. Since the music is literally crucial vibrating part of certain musical “played” on an authentic musical instrument, the instruments. The JMC Soundboard is a perception of the instruments and voices gives loudspeaker with a resonance spruce membrane hearers the impression that the musicians are built using lutherie techniques. The result is actually in the same room, or a sense of being aesthetically pleasing with an airily-mounted, whisked off to the place where the concert is slightly curving square-shaped membrane. The being performed. This is true with any type of sound is amazingly accurate, warm and brilliant, music, of which a single stereophonic pervading the entire open space due to the fact Soundboard is able to convey the three- that its wave is not of the focal type, but is dimensional nature of music. instead omnidirectional. Thus, whether a home if an open-plan, two-floor building or U-shaped, At JMC Lutherie, listening pleasure lies at the the music can be heard and felt throughout. very heart of our profession and our daily The verb “feel” is entirely justified for this concerns. musical sensation akin to that experienced in Page | 3 www.jmclutherie.com Technical information The illustration compares the auditory impression when listening to music with the Soundboard or with loudspeakers. -
Luthier Rob Engel Started Taking out These Guitars, and They Were Just Phe - by Marc A
attic – he had a sort of workshop up there – and he Luthier Rob Engel started taking out these guitars, and they were just phe - by Marc A. Ybaben, Ph.D. nomenal pieces of work! I mean they were beautiful; each one was an original piece. Some of them he had worked on with a guy named Tom Doyle – he’s a gui - tar maker and pickup maker from New Jersey – they had been buddies and they had worked together on dif - ferent stuff, and the bug bit me right there! I started looking at the guitars and I guess he saw the expression on my face, and he said, “Well, you can do this, you know.” And I was thinking, “Yeah, right!” but I really had to give it a shot, so I did. I went out and bought all kinds of books, and I already had a garage in the back of my house that served as a wood shop — which is what I did for a living anyhow — and I got started by Photo courtesy Paul Johnson bringing wood home from jobs that were scraps and left-overs, basically practicing until I started to under - hanks to the wonders of YouTube, a friend sent stand how things worked. Then Lenny introduced me me a video of an East Coast guitarist named Bob to Tom Doyle, and he got me a job with Tommy; I TDeVos. I immediately noticed two things: that worked with him for about three years. I really wasn’t Bob was a monster player – incredible lines and sound! making any money there, so I went back to cabinet – and that he played a very cool-looking guitar. -
African Mahogany Anegre Birdseye Maple Black Walnut
African Mahogany African Mahogany (Khaya) is a genus of seven species of trees in the mahogany family Meliaceae, native to tropical Africa and Madagascar. All species become big trees 30-35 m tall, rarely 45 m, with a trunk over 1 m trunk diameter, often buttressed at the base. The leaves are pinnate, with 4-6 pairs of leaflets, the terminal leaflet absent; each leaflet is 10-15 cm long abruptly rounded toward the apex but often with an acuminate tip. The leaves can be either deciduous or evergreen depending on the species. The flowers are produced in loose inflorescences, each flower small, with four or five yellowish petals and ten stamens. The timber of Khaya is called African mahogany, the only timber widely accepted as mahogany besides that of the true mahogany, of the genus Swietenia. Khaya senegalensis, also known as the African dry zone mahogany is also used for its non timber parts. In West Africa, Fulani herdsmen prune the tree during the dry season to feed cattle. Anegre Anegre is milled from the Tawa tree (Beilschmiedia tawa) is a New Zealand broadleaf tree common in the central parts of the country. Tawa is often the dominant canopy species in lowland forests in the North Island and north east of the South Island, Individual specimens may grow up to 30 meters or more in height with trunks up to 1.2 meters in diameter, and they have smooth dark bark. The word "tawa" is the Maori name for the tree. One of the few hardwood trees in the country with good timber, the wood of this tree can be used for attractive and resilient floor boarding. -
Pete Graves – Acoustic Luthier
Pete Graves – Acoustic Luthier In 2013 one of my grandsons wanted an acoustic The wood for the back and sides (ribs) is usually guitar to add to the collection of electric guitars that the same, and I have used Indian rosewood, he plays. Rather than buy one I decided to have a quilted maple and English walnut to make three go at making one and bought a book entitled guitars. Utile (a mahogany type) and maple are Guitar Making by Cumpiano & Natelson, which used for the neck. There are a number of on-line turned out to be an excellent guide. However, it suppliers of wood but I use a 'Fred in a shed' luthier contained too much descriptive text so I distilled in Durham who is very helpful and belt-sands the much of it into a series of process steps that an wood to the required thicknesses. engineer could follow! So far I have made two classical guitars and one A key aspect for the starting point for building an steel-string (aka Western) guitar. acoustic guitar is the choice of wood. The top, back and sides are made from high quality book- matched pairs of wood, <2.5mm thick, and straight, fine-grained spruce is the favoured wood for the soundboard. Steel string guitar with quilted maple back and ribs with ebony bindings Pete Graves – Acoustic Luthier The Build Process The neck and headpiece is made by cutting and gluing two pieces of dimensioned wood together at an angle of 15°. Blocks of matching wood are glued at the heel end where the neck joins the guitar body. -
African Mahogany Wood Defects Detected by Ultrasound Waves
General Technical Report FPL-GTR-239 • Proceedings: 19th International Nondestructive Testing and Evaluation of Wood Symposium African mahogany wood defects detected by ultrasound waves Tamara Suely Filgueira Amorim França Department of Sustainable Bioproducts, Mississippi State University, Starkville, Mississippi, United States, [email protected] Frederico Jose Nistal França Department of Sustainable Bioproducts, Mississippi State University, Starkville, Mississippi, United States, [email protected] Robert John Ross U.S. Forest Service, Forest Product Laboratory, Madison, Wisconsin, USA, [email protected] Xiping Wang U.S. Forest Service, Forest Product Laboratory, Madison, Wisconsin, USA, [email protected] Marina Donaria Chaves Arantes Departamento de Ciências Florestais e da Madeira, Universidade Federal do Espírito Santo, Jerônimo Monteira, Espírito Santo, Brasil, [email protected] Roy Daniel Seale Department of Sustainable Bioproducts, Mississippi State University, Starkville, Mississippi, United States, [email protected] Abstract This study aims to investigate the potential of ultrasound wave to detect defects in 19 years old of two species of African mahogany planted in Brazil. Were used five 76 x 5 x 5 cm samples from each species with different types of defects, and were conditioned to 12% moisture content. The samples were scanned with ultrasound wave in longitudinal direction and every 2,54 cm in radial and tangential directions along the samples. It was possible to identify end split and pin knots in Khaya ivorensis and reaction wood in Khaya senegalensis wood. Beetle galleries did not affect wave velocities in Khaya senegalensis wood. Grain angle had a large effect in ultrasound velocities in radial and tangential directions. Khaya senegalensis exhibit lower longitudinal velocities related to larger amount of interlocked grain in this species. -
Lumber / Veneer Match
Lumber Veneer Type of Cut Alder (Select) Alder Plain Sliced Face Alder (Knotty) Knotty Alder (Dark Putty in open knots) Plain Sliced Face Ash (Eastern White) Ash (Eastern White) Rotary Multi Piece Face Ash (Western) Ash (Eastern White) Rotary Multi Piece Face Beech (European Steamed) Beech (European Steamed) Plain Sliced Face Birch (Eastern Red) N/A N/A Birch (Eastern White) Birch (Eastern White) Rotary Multi Piece Face Birch (Western) N/A Cherry (Select) Cherry (Select) Plain Sliced Face Cherry (Rustic) Fir (CVG) Fir (CVG) Plain Sliced Face Hickory (Brown Heart) Hickory (Brown Heart) Plain Sliced Face Hickory (Calico) Hickory (Calico) Plain Sliced Face Hickory (Rustic Brown Heart) Hickory (Rustic Brown Heart) Plain Sliced Face Hickory (Rustic Calico) Hickory (Rustic Calico) Plain Sliced Face Lyptus Lyptus Plain Sliced Face Mahogany (African Khaya) Mahogany (African Khaya) Plain Sliced Face Mahogany (Edinam) Mahogany (African Khaya) Plain Sliced Face Maple (Eastern Hard White) Maple (Eastern Hard White) Rotary Whole Piece Face Maple (Eastern Soft Rustic) Maple (Eastern Hard Rustic) Plain Sliced Face Maple (Eastern Soft White) Maple (Eastern Hard White) Rotary Whole Piece Face Maple (Western) Alder Plain Sliced Face Paint Grade (Lumber Panel) DCD's Choice Rotary Whole Piece Face Paint Grade (MDF Panel) MDF N/A Pine (Eastern Clear) Pine (Eastern Clear) Plain Sliced Face Pine (Eastern Knotty) Pine (Eastern Knotty) Plain Sliced Face Poplar N/A N/A Red Oak (Natural) Red Oak (Natural) Plain Sliced Face Red Oak (Qtr Sawn) Red Oak (Qtr Sawn) Quarter Sawn Face Red Oak (Rift) Red Oak (Rift) Rift Sawn Face Red Oak (Select) Red Oak (Select) Plain Sliced Face Sapele (Flat Sawn) Sapele (Flat Sawn) Plain Sliced Face Sapele (Qtr Sawn) Sapele (Qtr Sawn) Quarter Sawn Face Walnut Walnut Plain Sliced Face White Oak (Select) White Oak (Select) Plain Sliced Face White Oak (Qtr Sawn) White Oak (Qtr Sawn) Quarter Sawn Face White Oak (Rift) White Oak (Rift) Rift Sawn Face. -
FOCUSING on CROSSOVER APPEAL, CÓRDOBA INTRODUCES NEW NECK OPTION on POPULAR MODELS Thinner Neck Profile Now Available on C9 & C10
CONTACT CORDOBA MUSIC GROUP Media Contact: Kim White 310.857.1705 [email protected] RELEASE FOCUSING ON CROSSOVER APPEAL, CÓRDOBA INTRODUCES NEW NECK OPTION ON POPULAR MODELS Thinner Neck Profile Now Available on C9 & C10 SANTA MONICA, CA – Due to the great success of Córdoba’s Luthier Series, an affordable line of all solid, concert level instruments, Córdoba is proud to the C9 Crossover and C10 Crossover. Córdoba’s C9 and C10 serve as the heart of the Luthier series; both are offered with the choice of a solid European spruce or solid Canadian cedar top, paired with either solid mahogany (C9) or solid Indian rosewood (C10) back and sides. The Crossover models feature a 48mm nut width, radiused fingerboard, and hand-carved mahogany neck with a thinner profile. The foundation of the Luthier Series rests upon building methods such as the Spanish Heel, hand-carved necks and braces, and domed soundboards which are built on a traditional solera. All models in the Luthier Series feature a mother-of-pearl hand-inlaid rosette inspired by a 1920s Domingo Esteso rosette, and include a humidified hardshell case. C9 Crossover – Street $799 C10 Crossover – Street $999 Founded in 1997, Córdoba seeks to guide the evolution of the nylon string guitar, blending traditional craftsmanship of the early master luthiers with modern developments. Inspired by the organic beauty and honesty of acoustic instruments, every Córdoba is lightweight, responsive, and a direct descendant of the Spanish tradition. Córdoba continues to challenge the definition of the acoustic guitar without sacrificing the authenticity of its heritage. Learn more at www.cordobaguitars.com. -
APPROVED SAWN TIMBER LIST (As of 13 May 2019) No. Scientific Name Country of Origin 1
APPROVED SAWN TIMBER LIST (As of 13 May 2019) No. Scientific Name Country of Origin 1. Pinus taeda ARGENTINA 2. Callitris glauca AUSTRALIA 3. Corymbia calophylla AUSTRALIA 4. Dysoxylum fraserianum AUSTRALIA 5. Eucalyptus camaldulensis AUSTRALIA 6. Eucalyptus delegatensis AUSTRALIA 7. Eucalyptus diversicolor AUSTRALIA 8. Eucalyptus fastigata AUSTRALIA 9. Eucalyptus fibrosa AUSTRALIA 10. Eucalyptus globulus AUSTRALIA 11. Eucalyptus grandis AUSTRALIA 12. Eucalyptus maculata AUSTRALIA 13. Eucalyptus marginata AUSTRALIA 14. Eucalyptus muellerana AUSTRALIA 15. Eucalyptus obliqua AUSTRALIA 16. Eucalyptus paniculata. AUSTRALIA 17. Eucalyptus pilularis AUSTRALIA 18. Eucalyptus saligna AUSTRALIA 19. Eucalyptus sieberiana AUSTRALIA 20. Eucalyptus viminalis AUSTRALIA 21. Lophostemon confertus AUSTRALIA 22. Pinus elliottii AUSTRALIA 23. Pinus radiata AUSTRALIA 24. Quercus alba AUSTRALIA 25. Shorea pauciflora AUSTRALIA 26. Fagus sylvatica AUSTRIA No. Scientific Name Country of Origin 27. Picea abies AUSTRIA 28. Picea abies BELARUS 29. Pinus sylvestris BELARUS 30. Quercus alba BELGIUM 31. Dipteryx odorata BOLIVIA 32. Apuleia leiocarpa BRAZIL 33. Astronium lecointei BRAZIL 34. Bagassa guianensis BRAZIL 35. Cedrela odorata BRAZIL 36. Cedrelinga catenaeformis BRAZIL 37. Couratari guianensis BRAZIL 38. Dipteryx odorata BRAZIL 39. Eucalyptus grandis BRAZIL 40. Eucalyptus grandis BRAZIL 41. Hymenaea courbaril BRAZIL 42. Hymenolobium modestum BRAZIL 43. Hymenolobium Nitidum BRAZIL Benth 44. Hymenolobium BRAZIL pulcherrimum 45. Manilkara bidentata BRAZIL 46. Myroxylon balsamum BRAZIL 47. Pinus radiata BRAZIL 48. Pinus taeda BRAZIL 49. Quassia simarouba BRAZIL 50. Tectona grandis BRAZIL 51. Fagus sylvatica BULGARIA No. Scientific Name Country of Origin 52. Quercus alba BULGARIA 53. Chlorophora excelsa CAMEROON 54. Cylicodiscus gabunensis CAMEROON 55. Entandrophragma CAMEROON candollei 56. Entandrophragma CAMEROON cylindricum 57. Entandrophragma CAMEROON cylindricum 58. Entandrophragma utile CAMEROON 59. -
Classifying Xylophone Bar Materials by Perceptual, Signal Processing
Classifying xylophone bar materials by perceptual, signal processing and wood anatomy analysis Loïc Brancheriau, Henri Baillères, Pierre Détienne, Richard Kronland, Bloen Metzger To cite this version: Loïc Brancheriau, Henri Baillères, Pierre Détienne, Richard Kronland, Bloen Metzger. Classifying xylophone bar materials by perceptual, signal processing and wood anatomy analysis. Annals of Forest Science, Springer Nature (since 2011)/EDP Science (until 2010), 2006, 63 (1), pp.73-81. hal- 00883958 HAL Id: hal-00883958 https://hal.archives-ouvertes.fr/hal-00883958 Submitted on 1 Jan 2006 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Ann. For. Sci. 63 (2006) 73–81 73 © INRA, EDP Sciences, 2006 DOI: 10.1051/forest:2005099 Original article Classifying xylophone bar materials by perceptual, signal processing and wood anatomy analysis Loïc BRANCHERIAUa*, Henri BAILLÈRESa, Pierre DÉTIENNEa, Richard KRONLANDb, Bloen METZGERb a CIRAD - Forêt, TA10/16, avenue Agropolis, 34398 Montpellier Cedex 5, France b CNRS – LMA, 31 chemin Joseph-Aiguier, 13402 Marseille Cedex 20, France (Received 10 December 2004; accepted 18 May 2005) Abstract – Several different areas of expertise are required to analyse the acoustic qualities of wood. The practical experience of musical instrument makers is extremely valuable, especially with respect to selecting the most suitable wood species for different applications. -
Federal Trade Commission § 243.4
Federal Trade Commission § 243.4 (2) Under this section, unqualified usage of that term. Examples of im- phrases such as ``walnut'', ``walnut fin- proper use of the term ``mahogany'' in- ish'', ``in walnut'', ``fruitwood'', ``oak'', clude reference to Red Lauan as ``mahogany finish'', and other terms of ``Lauan mahogany'' or to White Lauan similar import or meaning, will not be as ``Blond Lauan mahogany''. Such adequate. But statements such as woods, however, may be described as ``walnut stain'', ``maple stain finish'', ``Red Lauan'' or ``Lauan'' or ``White ``mahogany finish on gum'', ``photo- Lauan'', respectively. The term ``Phil- graphically reproduced pecan grain'', ippine mahogany'' will be accepted as a ``printed pecan design'', ``fruitwood fin- name or designation of the seven woods ish on selected hardwood veneer'', named above. Such term shall not be ``cherry grain finish on vinyl overlay'' applied to any other wood, whether or and ``walnut finish on other hard- not grown on the Philippine Islands. woods'' (or ``softwoods'', as the case (4) The term ``mahogany'', with or may be) will satisfy this provision if without qualifications, should not be such statements are factually correct and appear in contexts which are oth- used to describe any other wood except erwise nondeceptive. 2 [Guide 2] as provided above. This applies also to any of the woods belonging to the § 243.3 Deceptive use of wood names. Meliaceae family, other than genera Industry members should not use any Swietenia and Khaya. direct or indirect representation con- (c) Maple. The terms hard maple, rock cerning the identity of the wood in in- maple, bird's-eye maple, Northern maple dustry products that is false or likely or other terms of similar nature should to mislead purchasers as to the actual not be used to describe woods other wood composition. -
Acoustical Studies on the Flat-Backed and Round- Backed Double Bass
Acoustical Studies on the Flat-backed and Round- backed Double Bass Dissertation zur Erlangung des Doktorats der Philosophie eingereicht an der Universität für Musik und darstellende Kunst Wien von Mag. Andrew William Brown Betreuer: O. Prof. Mag. Gregor Widholm emer. O. Univ.-Prof. Mag. Dr. Franz Födermayr Wien, April 2004 “Nearer confidences of the gods did Sisyphus covet; his work was his reward” i Table of Contents List of Figures iii List of Tables ix Forward x 1 The Back Plate of the Double Bass 1 1.1 Introduction 1 1.2 The Form of the Double Bass 2 1.3 The Form of Other Bowed Instruments 4 2 Surveys and Literature on the Flat-backed and Round-backed Double Bass 12 2.1 Surveys of Instrument Makers 12 2.2 Surveys Among Musicians 20 2.3 Literature on the Acoustics of the Flat-backed Bass and 25 the Round-Backed Double Bass 3 Experimental Techniques in Bowed Instrument Research 31 3.1 Frequency Response Curves of Radiated Sound 32 3.2 Near-Field Acoustical Holography 33 3.3 Input Admittance 34 3.4 Modal Analysis 36 3.5 Finite Element Analysis 38 3.6 Laser Optical Methods 39 3.7 Combined Methods 41 3.8 Summary 42 ii 4 The Double Bass Under Acoustical Study 46 4.1 The Double Bass as a Static Structure 48 4.2 The Double Bass as a Sound Source 53 5 Experiments 56 5.1 Test Instruments 56 5.2 Setup of Frequency Response Measurements 58 5.3 Setup of Input Admittance Measurements 66 5.4 Setup of Laser Vibrometry Measurements 68 5.5 Setup of Listening Tests 69 6 Results 73 6.1 Results of Radiated Frequency Response Measurements 73 6.2 Results of Input Admittance Measurements 79 6.3 Results of Laser Vibrometry Measurements. -
Chapter 3--Physical Properties and Moisture Relations of Wood
Chapter 3 Physical Properties and Moisture Relations of Wood William Simpson and Anton TenWolde he versatility of wood is demonstrated by a wide Contents variety of products. This variety is a result of a Appearance 3–1 spectrum of desirable physical characteristics or properties among the many species of wood. In many cases, Grain and Texture 3–1 more than one property of wood is important to the end Plainsawn and Quartersawn 3–2 product. For example, to select a wood species for a product, the value of appearance-type properties, such as texture, grain Decorative Features 3–2 pattern, or color, may be evaluated against the influence of Moisture Content 3–5 characteristics such as machinability, dimensional stability, Green Wood and Fiber Saturation Point 3–5 or decay resistance. Equilibrium Moisture Content 3–5 Wood exchanges moisture with air; the amount and direction of the exchange (gain or loss) depend on the relative humid- Sorption Hysteresis 3–7 ity and temperature of the air and the current amount of water Shrinkage 3–7 in the wood. This moisture relationship has an important Transverse and Volumetric 3–7 influence on wood properties and performance. This chapter discusses the physical properties of most interest in the Longitudinal 3–8 design of wood products. Moisture–Shrinkage Relationship 3–8 Some physical properties discussed and tabulated are influ- Weight, Density, and Specific Gravity 3–11 enced by species as well as variables like moisture content; Working Qualities 3–15 other properties tend to be independent of species. The thor- oughness of sampling and the degree of variability influence Decay Resistance 3–15 the confidence with which species-dependent properties are Thermal Properties 3–15 known.