Talk:Classical guitar making

message: This article has a lot of Original research and external links I've attempted to clean it up and moved all external links to the external links section. I suggest an entire rewrite or  possibly  ♫Slysplace | talk 19:14, 3 February 2008 (UTC)
replies: text: The article has been rewritten a while back with numerous citations. Additional relevant external links have been moved to the bottom of this Discussion (talk) page, so as not to clutter then main article. Hattermadder (talk) 13:40, 6 December 2010 (UTC)
thread_title:  <nowiki>{{Original research|date=March 2008}}</nowiki> 

message: Hi there!
The article has now been expanded considerably, with information that should be of interest to good luthiers. Included are details and links on such topics as acoustics (though the importance of practically experimenting, and learning to judge sound in an unbiased way, and also pairing acoustics and rational judgement with an "intuitive approach with focus on SOUND" - is not to be underestimated!), general overview of luthier's skills, as well as topics that the really aspiring luthiers (who wish to progress beyond those, who are only guitar-furniture makers!) should find interesting (sound aesthetic, historical perspective, link between styles of instruments and repertoire, acoustics, voicing of the instrument, etc.) Hattermadder (talk) 21:50, 8 January 2010 (UTC)
thread_title:  Expanded 

message: * Crane (by Makoto Tsuruta)
* Technical drawings Ringve Museum, Trondheim (photos: Pages, Italy, 2nd half of 18th cent., Guitar, 19th cent., G.D.Schöne, see also)
* Technical drawings Edinburgh University Collection of Historic Musical Instruments (see also)
* Technical drawings Cité de la musique, Paris (for instrument-photos: under Instruments et oeuvres d'art use one of the following inventory-numbers for "Numéro d'inventaire": E.30, E.1411.1, E.375, E.986.5.1, E.0748, E.540, E.1028, E.547, E.546, E.529, etc.)
* Plans from Istituto per la Ricerca Organologica e il Restauro
* Drawings
* Technical drawings Royal College of Music, London (photos of stringed instruments from the museum)
* Technical drawings (pdf) Staatliches Institut für Musikforschung - Preußischer Kulturbesitz (Berlin)
*Technical drawings (pdf) Germanisches Nationalmuseum, Nürnberg (guitars at the museum, ref)
* Technical Drawing of The Rawlins Stradivari Guitar, 1700 (link) National Music Museum - University of South Dakota
*Technical drawings from the Hill Collection of Musical Instruments The Ashmolean Museum, Oxford
* Technical drawing Guitar by Johann Gottfried Scherzer (1861) (see also, 2, drawn by Gary Demos)
* Technical drawings Guild of American Luthiers (early guitar, classical guitars)
* Technical drawings Kenneth Sparr
*Technical Drawings of Musical Instruments - On microfiche, M390 by MMF Publications (see also, contents)
*Musical Instrument Museum; Brussels (Belgium) (contact)
* Technical Drawings of Musical Instruments in Public Collections of the World
* The guitar of Andrés Segovia (published by Dynamic) Segovia's 1937 Hauser guitar, now at the Metropolitan Museum of Art (images and information : 1, 2, 3)
*Measuring and documenting the FE 18 by Antonio de Torres  — Preceding unsigned comment added by Hattermadder (talk • contribs) 10:09, 13 December 2010 (UTC)
thread_title:  Technical drawings (Plans) of guitars, historic guitars etc. 

message: There seems to be a great deal of personal opinion injected into this article, and the conclusions draw in some of these sections are not well-supported by evidence or citation.  I note that someone else flagged many of these sections as far back as 2011.
For example, some information on the acoustical research done on violins may be of interest as a parallel to that done with guitars, but it is carried on in unnecessary detail, and connections drawn that aren't supported.  The situations with the two instruments are not closely equivalent.  Stradivari was a master instrument maker, and he did produce a number of instruments other than violins and cellos.  But we don't have a great deal of information to indicate that guitarists of that day necessarily considered Stradivari's guitars to be at the same pinacle of perfection as violinists considered his violins.
Violininsts and guitarists, even in Stradivari's day, were pursuing different aeshetics.  The violin was then -- and is now -- a concert instrument, intended primarily for use in orchestral settings.  Sometimes as a soloist, to be sure, but always ready to blend back into that ensemble.  The guitar, on the other hand, was then -- and is now -- primarily a solo instrument, usually played either alone or in small ensembles in a salon setting, and also a folk instrument.  It lives in an a different acoustical Zeitgeist from the violin, and always has.
Excepting Stradivari's instruments (the few surviving specimens of which, BTW, have been very thoroughly studied), we have literally thousands of old guitars, from all periods, residing in museums and private collections.  A great deal of study has been devoted to these instruments, much of it during the same years that violin makers were disecting their Strads and Guanaris.  Books, scholarly articles in luthiery journals, and dissertations attest to this research.  The fact is that while luthiers may spend some time to experimentation, most of their efforts are going to be devoted whatever aesthetic is currently in vogue among performers, which in turn is largely dictated by what audiences are willing to pay to hear.  This has ever been true for both violin and guitar.
If there are actually people who believe " that guitar making today is still lagging far behind professional violin-making ", my guess is that the people who believe that are probably violin luthiers.  I know a goodly number of guitar luthiers, and have yet to hear any of them express this sentiment.  
:If you were to ask guitar luthiers about the state of violin making today, I suspect many would express incredulity that violin makers apparently have yet to discover geared tuners, prefering instead to continue to use the laboriously-fitted, ever-slipping, 400-year old friction peg design. ;)
I suggest a vigorous laundering of this article to remove POV sections, and/or adding more specific supporting citations from reputable sources.
67.206.183.63 (talk) 11:10, 5 July 2015 (UTC)
thread_title:  POV and Questionble Assertions 

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thread_title:  External links modified 

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thread_title:  External links modified 

message: There is something wrong with this sentence:
"Francisco Sanguino was one of the first to experiment with fan-bracing, then came Páges and Panormo—but Torres did not use it, still had more tonal energy spread over overtones, compared to the Torres guitars, which focus tonal energy more in the fundamental (desirable in Spanish music)."
I'm no expert in this topic, and know little of Sanguino, Páges, and Panormo, and so I'm not qualified to fix this. But Torres was well known for his fan bracing. Was "ladder-bracing" meant here instead of "fan-bracing"? Or did two sentences accidentally be merged in a incorrect way? --Ericjs (talk) 17:37, 8 June 2018 (UTC)
thread_title:  Torres did not use fan bracing??