do not think it is very far from the truth,either. History shows that the development of musical instruments is happeningrather in leaps than as a continuous process. Certainly Antonio de Torresrepresents such a leap. But his guitars opened new musical possibilities to theplayers and new possibilities of reaching the heart of the listener. I doubtthat this can be said for the new style of guitar discussed here. Of course,one can maintain that my arguments against constructions which aim atmaximization of sound radiation are mere generalizations. This is true and Iapologise to any colleague who, like all of us, is just striving to make abetter guitar and who feels I have done injustice to his work. The classicalguitar is one of the most complex musical instruments, making generaljudgements on single components rather meaningless. There are, no doubt,excellent guitars built with the methods I have questioned here, examples ofthe skilful art of their makers to compensate for the deficiencies theseconstructions are prone to. I hope that my criticism is considered well-foundedand taken as a contribution to help make more of these rare, truly greatguitars, no matter how they are constructed. Epilogue: 3 (The thickness relatesto stability, the moment of inertia of the cross section, to be precise, to thethird power. Beware of very thin soundboards from the hands of inexperiencedguitar makers! 4 5 This article above was written by me several years ago(2004?). It seems that many guitar makers share my objections against the soundof double top/sandwich guitars. While there are some interesting improvements,especially with double tops where the aramid fiber structure (Nomex) has beenreplaced by balsa wood, the fundamental problems with such a construction havenot been solved. I couldnt resist to analyse the precise nature of theproblems described and think about a possible solution, and I came up with anidea. When a friend and customer of mine urged me to make a sandwich guitar, Ideclined to make a guitar with sandwich top as known, but told him about myconcept. He commissioned such a guitar. By the end of this year (2011), weshall know if there is anything in my idea...Olapessoal, Tem um artigo escrito pelo luthier alemao Sebastian Stenzelfalando sobre os violoes modernos, na verdade ele faz uma defesa bemfundamentada dos violoes tradicionais. Eu fiz a traducao do artigo, vou logoavisando que nao sou especialista em traducao, fiz o melhor que pude, o textotem muito termo tecnico o que dificultou bastante a traducao. Espero que vocesgostem.Abaixo a traducao:N O T A S D E U M L U T H IE R :Defesa da construcao tradicional do tampo do violaoclassico por Sebastian Stenzel , luthier de violao(Traduzido do original em ingles: http://www.stenzel-g....vs.modern.pdf)Uma ou outra vez pediram minha opiniao sobre violoes classicosmodernos com "double top ", estrutura de trelica, tampo laminado fibra de carbono- balsa e caracteristicas semelhantes de construcao. Emboraseja bom o direito de todos de ver esses violoes como uma melhoria , eu naovejo. Isso e por que:Para aqueles nao familiarizados com este tipo relativamente novode violao classico, vou explicar o conceito subjacente de construcao. Oobjetivo e, simplesmente, o de fazer uma