Contents by Juan F. Fernandez-M. (about me)
Please write me if you have any comments to improve these pages.
Note: as of January 2016, I have finished all the new standardized simulations and I am in the process of the synthesis of the results, that I expect to finish soon. Thank you for stopping by.
These pages explore the rich features of the Spanish guitar design by
analyzing the essential principles implemented on the soundboards of famous guitar builders using finite Element analysis (FEA).
I base my
discussion mostly on the plans available from the Guild of American Luthiers, Roy Courtnall and Allied Lutherie, but I also use designs deduced from published photographs in guitar books and magazines, and from my own observations.
I am currently adding many new designs based on the sketches found in the book "A collection of Fine Spanish guitars: from Torres to the present" 2nd, edition, by Sheldon Urlik (Sunny Knoll Publishing), that is worth every penny.
The models presented here are loosely based on the sources cited, so I am not claiming that I am reproducing exactly the available plans. In addition, for most of the models, only sketches are available, so I had to make several assumptions that are explained in each case.
My goal here is not to simulate specifically the soundboard of a particular guitar, but to rather understand the effects of different strutting design geometries on the same soundboard, something that is impossible to do in the real world.
The list of guitars is not exhaustive. I believe I have included the essential instruments from the recent history of the guitar, from Torres to Fleta, with various entries for Santos Hernandez' guitars, as I believe that he was a great innovator for the instrument. A summary of Hernandez' guitars available from the web can be found here.
I. The Basics
II. Vibration modes of main designs
Last updated: January 2016