贝斯吉他中电子元件的作用

IRYW Volume IX : Acoustics are Easier to Build than Electrics

I know, I know... How can someone right this in their right mind ? Well, I did.

The trade believes acoustics are the real test of a luthier and electrics the warm-up. Volume IX lays the two build timelines side by side and argues the opposite. Acoustics have more steps, but each step is, one by one, simpler. The ladder of luthier nobility — quartet, classical, acoustic, electric — isn't a measurement. It's a manners chart.

The dead spot is the trade's most misdiagnosed problem. It gets blamed on tired strings, a weak pickup, or the wrong wood — and it's none of them. Helmut Fleischer's vibrometer measurements show it's a resonance in the neck, draining the string at the exact frequencies you play. You can map it. You can move it. You can't erase it.

I'm Right, You're Wrong - Volume VIII - Death Threads Edition

The neck joint debate has always been argued on tone. It should have been argued on failure. In Vol. VIII of I'm Right, You're Wrong, we look at the only controlled measurement of joint type and sustain, the impedance physics that explains why a clamped joint can outperform a glued one, and the durability case that closes the question — every neck is a wear part, and only one joint treats that as a design input.

Your guitar is never in tune — not because it's set up wrong, but because equal temperament makes every major third about 14 cents sharp on purpose. A luthier walks through the arithmetic, the physics of inharmonicity and the slandered G string, the lute-fret history we forgot, and what compensated nuts and curved frets honestly do: fix the instrument, not the math.

I'm Right, You're Wrong - Volume VII

The electric guitar is not the exception to acoustic physics. The string vibrates, the wood responds, the pickup faithfully reports — Faraday's law makes no allowance for marketing categories. Volume VII on string-body coupling, modal frequencies, and the physics the industry decided to ignore.

A century after its invention, the archtop guitar is still built largely by 1930s rules. But the way players actually use the instrument has changed: studios, stages, planes, contemporary jazz contexts that demand more uniformity and less drama from the instrument. This article looks at three engineering moves boutique luthiers are making to bring the archtop into the present — and what is gained and lost when you do.

木材在塑造电吉他的音色方面究竟起什么作用？本文剖析了数十年的声学研究、心理声学和测量数据，以区分神话和可测量的现实。从阻尼和共振到人类听觉阈值，我们研究了音木在哪里重要，以及在哪里不重要。适合制琴师、演奏者和怀疑论者。没有虚饰，没有教条——只有证据。

想要您的吉他演奏更流畅、声音更好吗？本指南详细介绍了您需要了解的关于 琴颈钢筋和琴颈弧度 的一切——从它们的工作原理到安全调整它们。无论您是 DIY 爱好者还是只是好奇，这篇经制琴师认可的文章都涵盖了改善音色、手感和可演奏性的要点。

这份深入的指南探讨了您需要了解的关于吉他和贝斯电位器的所有内容。了解不同的电位器值、锥度和类型如何影响音色和功能。无论您使用的是无源电路还是有源电子设备，本文都涵盖了音量、音色和混合控制的最佳选择——以及实用的安装技巧和对智能电位器等现代趋势的见解。