Thoughts About the Design of the Classical Guitar

Contents by Juan F. Fernandez-M. (about me)

Please write me if you have any comments to improve these pages.

Note: as of 15/09/2015, I am currently redoing the site's pages in order to standardize results and allow for a more rapid access to the information. I hope I can finish soon!

These pages explore the rich features of the classical guitar design by analyzing the essential principles implemented on the soundboards of famous guitar builders using finite Element analysis (FEA).

I base my discussion on the detailed plans available from the Guild of American Luthiers, Roy Courtnal and Allied Lutherie.

My goal here is not to simulate specifically the soundboard of a particular guitar, but to rather understand the effects of different struting designs on a standard soundboard, something that is impossible to do in the real world.

I. The Basics

II. Vibration modes of main designs

  1. Antonio de Torres design

  2. Antonio de Torres "La Leona" design

  3. Manuel Ramirez 1912/Santos Hernandez design

  4. Enrique Garcia 8 fan design

  5. Hermann Hauser 1937 ex Segovia design

  6. Santos Hernandez 1924 (almost) parallel bracing long strut design

  7. Santos Hernandez 1930 (almost) parallel bracing short strut design

  8. Santos Hernandez 1933 simple 7 fan symmetrical design

  9. Santos Hernandez 1936 slanted harmonic bar variable angle bracing design

  10. Ignacio Fleta design

  11. Marcelo Barbero  Flamenco design

  12. José Ramirez III design

  13. José Romanillos - Bream design

  14. Masaru Kohno

  15. The Manuel Rodriguez reverse fan design

    III. Summary of simulations
  • Summary of results

  • Concluding remarks

Last updated: October 2015