|
|
| Line 1: |
Line 1: |
| {{other uses}}
| | Gabrielle is what her husband loves to call a though she doesn't very like being called like that. Fish holding is something her dad doesn't really like but she does. Managing people is what she does although she plans on aligning it. For years she's been that reside in [http://dict.Leo.org/?search=Massachusetts Massachusetts]. Go to her own [http://search.Usa.gov/search?query=website website] to find to choose from more: http://circuspartypanama.com<br><br>Visit my web-site ... clash of clans cheat, [http://circuspartypanama.com More Tips], |
| [[Image:Gfingerboard.JPG|right|thumb|100px|Fretted guitar fingerboard]]
| |
| [[Image:Violinfingerboard.JPG|right|thumb|100px|Fretless violin fingerboard]]
| |
| The '''fingerboard''' (also known as a '''fretboard''' on fretted instruments) is a part of most [[stringed instrument]]s. It is a thin, long strip of material, usually wood, that is [[adhesive|laminated]] to the front of the [[neck (music)|neck]] of an instrument. The strings run over the fingerboard, between the [[nut (music)|nut]] and [[bridge (instrument)|bridge]]. To play such an instrument, a musician presses strings down to the fingerboard to change the vibrating length, changing the [[Pitch (music)|pitch]]. This is called ''stopping'' the strings.
| |
| | |
| The word "fingerboard" in other languages sometimes occurs in musical directions. In Italian it is called either '''manico''' or '''tasto''', the latter especially in the phrase [[sul tasto]], a direction for bowed string instruments to play with the [[bow (music)|bow]] above the fingerboard.
| |
| | |
| == Frets ==
| |
| [[Image:trastes.jpg|thumb|150px|left|Six [[Strings (music)|strings]] [[bass guitar]] fingerboard]]
| |
| | |
| A fingerboard may be [[fret]]ted, having raised strips of hard material perpendicular to the strings, which the player presses the strings against to stop the strings. Frets let the player stop the string consistently in the same place, and don't dampen string vibrations as much as fingers alone. Frets may be fixed, as on a [[guitar]] or [[mandolin]], or movable, as on a [[lute]]. Fingerboards may also be unfretted, as they usually are on [[bow (music)|bow]]ed instruments, where damping by the finger is of little consequence because of the sustained stimulation of the strings. Unfretted fingerboards allow a musician more control over subtle changes in pitch than fretted boards, but are generally considered harder to master. Fingerboards may also be, though uncommon, a hybrid of these two. Such a construction is seen on the [[sitar]], where arched frets attach at the edges of a smooth fingerboard; unfrettable strings run inside the frets, while frettable ones run outside. The fret arches are sufficiently high that the exterior strings can be fretted without making the finger making contact with the interior strings and
| |
| | |
| Frets may be marked by [[inlay (guitar)|inlays]] to make navigating the fingerboard easier. On six-string guitars and bass guitars, markers are typically single smallish dots that indicate the 3rd, 5th, 7th and 9th frets—and the octaves of those positions higher up the neck. A double dot or some other variation marks the 12th fret and 24th frets. Variations on the standard dot shape can make a guitar more distinctive. Position markers are sometimes made [[luminescent]] (through using paint, or illuminated with [[light emitting diodes]]) to make them more visible on stage. Position markers are also sometimes repeated on the edge of the fingerboard for easy viewing.
| |
| | |
| Over time, strings wear frets down, causing buzzing and deadening the sound. Fixing this requires a re-fretting job or fret dressing. The frets are leveled, dressed, crowned, and polished. Rarely do frets need to be replaced completely. Stainless steel guitar frets may never need to be dressed because of the density of the material.<ref>[http://www.guitarrepairbench.com/electric-guitar-repairs/fret_dress.html Fret Leveling] article at the Guitar Repair Bench Luthier Website</ref> Not having frets carefully and properly aligned with the fingerboard can cause severe intonation issues and constant detuning. The ultimate way of determining the source of a buzz and detuning problem is to measure the levelness of the frets. A straightedge positioned on the neck in the "lie" of one of the strings should show nearly level frets. (There should be a slight ''[[Relief (music)|relief]]'' to compensate for the [[Ellipse|elliptical]] shape of the vibrating strings.)
| |
| | |
| == Materials ==
| |
| On bowed string instruments, (such as [[violin]], [[viola]], [[cello]], and [[double bass]]), the fingerboard is usually made of [[ebony]], [[rosewood]] or other [[hardwood]]. On some [[guitar]]s a [[maple]] neck and fingerboard are made from one piece of wood. A few modern [[luthier]]s have used lightweight, non-wood materials such as [[carbon-fiber]] in their fingerboards.<ref>[http://www.rivinus-instruments.com/DesignConcepts.htm#Weight...and%20conscience Luthier David Rivinus' site] explanation of why he doesn't use ebony fingerboards</ref>
| |
| | |
| == Parameters ==
| |
| [[Image:Fingerboard scheme.svg|thumb|250px|left|Fingerboard profile looking from [[Nut (instrumental)|nut]] to [[bridge (instrument)|bridge]]. Scheme and essential parameters]]
| |
| | |
| Typically, the fingerboard is a long plank with a rectangular profile. On a guitar, mandolin, ukulele, or similar plucked instrument, the fingerboard appears flat and wide, but may be slightly curved to form a cylindrical or conical surface of relatively large radius compared to the fingerboard width. The ''radius'' quoted in the specification of a string instrument is the [[radius of curvature (applications)|radius of curvature]] of the fingerboard at the head nut.
| |
| | |
| Most bowed string instruments use a visibly curved fingerboard, [[nut (instrumental)|nut]] and [[bridge (instrument)|bridge]] to provide [[bow (music)|bow]] clearance for each individual [[strings (music)|string]].
| |
| | |
| The length, width, thickness and [[density]] of a fingerboard can affect [[timbre]]. Most fingerboards can be fully described by these parameters:
| |
| | |
| * ''w<sub>1</sub>'' — width at nut (close to headstock)
| |
| * ''w<sub>2</sub>'' — width at half of scale length (if fretted, usually the 12th fret)
| |
| * ''h<sub>1</sub>'' — profile height (thickness) at nut
| |
| * ''h<sub>2</sub>'' — profile height (thickness) at half of scale length
| |
| * ''r'' — radius (may be non-constant)
| |
| | |
| === Radius ===
| |
| [[Image:Fretboard-radii-graph.svg|250px|thumb|Graphs of '''r(x)''' function for typical fingerboard profiles]]
| |
| Depending on values of radius ''r'' and their transition over the length of the fingerboard, all fingerboards usually fit into one of the following four categories:
| |
| | |
| {| class="wikitable"
| |
| |-
| |
| | 1
| |
| ! Flat
| |
| | Both nut and bridge are flat. The strings are all in one plane, and the instrument does not have a radius (the radius is in a sense infinite).
| |
| | <math>r = \infty</math>
| |
| |-
| |
| | 2
| |
| ! Cylindrical
| |
| | The fingerboard has a constant radius, and the fingerboard, the nut and the bridge all have the same nominal radius (that of the fingerboard is strictly speaking a little smaller than that of nut and bridge).
| |
| | <math>r = r_1 = r_2 = const</math>
| |
| |-
| |
| | 3
| |
| ! Conical
| |
| | The fingerboard has a varying radius, usually linearly progressing from <math>r_1</math> to <math>r_2</math>. Sometimes it is also called a '''compound radius'''.<ref name="warmoth-radius">[http://www.warmoth.com/guitar/necks/necks.cfm?fuseaction=radius Guitar neck radius] article at [[Warmoth]]</ref> The nut and bridge are both curved but the nut radius is smaller than that of the bridge.
| |
| | <math>r(x) = r_1 + \frac{x}{l}(r_2 - r_1)</math>
| |
| |-
| |
| | 4
| |
| ! Compound
| |
| | While not strictly conical, with a curved nut and linear bridge. All parts of the fingerboard have some curvature, but the fingerboard shape is not strictly a cone.
| |
| | <math>r(x) = f(x)</math>, usually <math>r(l) = \infty</math>
| |
| |}
| |
| | |
| Notes:
| |
| * <math>l</math> is a [[scale (string instruments)|scale]].
| |
| * <math>x</math> designates a place on fingerboard, changes from 0 (at nut) to <math>l</math> (at bridge).
| |
| * <math>r(x)</math> describes radius depending on place on fingerboard.
| |
| * <math>f(x)</math> is a [[non-linear]] function.
| |
| | |
| Classical guitars, some 12-string guitars, banjos, dobros, pedal steel, and a few steel stringed acoustic guitars have flat fingerboards. Almost all other guitars have at least some curvature. However some recent five and six string electric basses have flat fingerboards.
| |
| | |
| For guitars, smaller radii (7.25–10") are said to be more comfortable for chord and rhythm playing, while larger radii (12"-16" and up to flat) are more appealing to fast soloing. Conical and compound radius fingerboards try to merge both of these features. The nut end of the fingerboard has a smaller radius towards the nut to ease in forming chords. The bridge end of the fingerboard has a larger radius to make soloing more comfortable and prevent "fretting out" (having the string press against a higher fret during a [[bend (guitar)|bend]]). | |
| | |
| ''A Brief History Of Discovering The Conical Fingerboard'' in 1978 by luthier Denny Rauen can be found in American Lutherie #8/Winter 1986 and String Instrument Craftsman May/June 1988 under the title "Multi-Radius Fingerboards".
| |
| This special radiusing is a standard on many of Denny's custom built guitars and refret work beginning in 1978. Denny Rauen's articles on the "Multi Radius Fingerboard" are the first published documents on using a conical fingerboard to improve string bending while retaining comfortable chording.
| |
| | |
| Bowed string instruments usually have curved fingerboards, to allow the player to bow single strings. Those of the modern violin family and the double bass are strongly curved, however those of some archaic bowed instruments are flat.
| |
| | |
| === Examples ===
| |
| Examples of some instruments' fingerboard radius parameters:
| |
| | |
| {| class="wikitable"
| |
| |-
| |
| ! Model
| |
| ! ''r''
| |
| ! ''w<sub>1</sub>''
| |
| ! ''w<sub>2</sub>''
| |
| |-
| |
| | Modern [[Fender Stratocaster]] American guitar
| |
| | 9.5" (241 mm)<ref name="warmoth-radius"/>
| |
| | 1 11/16" (42.8 mm)
| |
| |-
| |
| | Vintage [[Fender Stratocaster]] guitar
| |
| | 7.25" (184.1 mm)<ref name="warmoth-radius"/>
| |
| |-
| |
| | [[Gibson Les Paul]] guitar
| |
| | 12" (305 mm)
| |
| | 1.68" (43.053 mm)
| |
| |-
| |
| | [[Ibanez]] guitars
| |
| | RG and S series: 15.75"-17" (400-430mm). Artcore: 12" (305mm). SZ (305mm)
| |
| |-
| |
| | [[Jackson Guitars|Jackson]] guitars
| |
| | 16" (406 mm)<ref name="warmoth-radius"/> or compound, from 12" (nut) to 16" (heel). A compound radius is common on their newer models
| |
| |-
| |
| | [[Warmoth]] guitars
| |
| | Compound, from 10" at nut to 16" at heel.<ref name="warmoth-radius"/>
| |
| |-
| |
| | [[PRS Guitars]]<ref>[http://www.prsguitars.com/csc/faq.html PRS Guitars FAQ: What are the differences between necks you offer?]</ref> Regular
| |
| | rowspan="4" | 10" (254 mm)
| |
| | 1 21/32" (42 mm)
| |
| | 2.25" (57.1 mm)
| |
| |-
| |
| | PRS Guitars Wide Fat and Wide Thin
| |
| | 1 11/16" (42.8 mm)
| |
| | 2.25" (57.1 mm)
| |
| |-
| |
| | PRS Guitars 513
| |
| | 1 43/64" (42.4 mm)
| |
| | 2 3/16" (55.5 mm)
| |
| |-
| |
| | PRS Guitars Hiland
| |
| | 1 21/32" (42 mm)
| |
| | 2 7/32" (56.3 mm)
| |
| |-
| |
| | PRS Guitars Santana
| |
| | 11 1/2" (292 mm)
| |
| | 1 21/32” (42 mm)
| |
| | 2.25" (57.1 mm)
| |
| |-
| |
| | PRS Guitars Custom 22/12
| |
| | 11 1/2" (292 mm)
| |
| | 1 47/64" (44 mm)
| |
| | 2 19/64" (58.3 mm)
| |
| |-
| |
| | Most electric guitars with LSR roller nuts
| |
| | 9.5" to 10" (241 mm to 254 mm)<ref name="warmoth-radius"/>
| |
| |-
| |
| | Most electric guitars with [[Floyd Rose]] bridge
| |
| | 10" (254 mm)<ref name="warmoth-radius"/>
| |
| |-
| |
| | Traditional Classical guitars
| |
| | flat (no radius)
| |
| | Variable by maker
| |
| | Variable by model
| |
| |-
| |
| | Martin acoustic guitars
| |
| | 16" (406.4 mm)
| |
| | Variable by model
| |
| |-
| |
| | Gibson acoustic guitars
| |
| | 12" (305 mm)
| |
| |-
| |
| | Full size (4/4) [[violin]]
| |
| | 42 mm
| |
| | 24 mm
| |
| | 40 mm
| |
| |}
| |
| | |
| <gallery caption="Radius printable samples">
| |
| Image:Radius 6”_600ppi.jpg|6”
| |
| Image:Radius 7 ¼”_600ppi.jpg|7 ¼”
| |
| Image:Radius 9 ½”_600ppi.jpg|9 ½”
| |
| Image:Radius 10”_600ppi.jpg|10”
| |
| Image:Radius 11 ½”_600ppi.jpg|11 ½”
| |
| Image:Radius 12”_600ppi.jpg|12”
| |
| Image:Radius 16”_600ppi.jpg|16”
| |
| Image:Radius 20”_600ppi.jpg|20”
| |
| </gallery>
| |
| | |
| == Scalloping ==
| |
| [[Image:Scalloped fretboard.jpg|frame|Scalloped fingerboard of [[Yngwie Malmsteen Stratocaster]]]]
| |
| | |
| A fretted fingerboard can be '''scalloped''' by "scooping out" the wood between each of the frets to create a shallow "U" shape. The result is a playing surface wherein the players' fingers come into contact with the [[String (music)|strings]] only, and do not touch the fingerboard.
| |
| | |
| The process of "scalloping" a fingerboard well, if done by hand, is tedious work, usually done by careful [[file (tool)|filing]] of wood between the frets, and requires a large investment of time. Consequently, it is relatively expensive to have done. Generally, luthiers scallop fingerboards with a special milling machine that has 22 or 24 (according to neck dimensions and number of frets) wood cutting tools. This equipment saves time and adds precision to the process of scalloping the wood in the neck's radius the same in all fret spaces.
| |
| | |
| Scalloped fingerboards are most commonly used by [[shred guitarists]], most notably, [[Yngwie Malmsteen]], who, like [[Ritchie Blackmore]] (of [[Deep Purple]]) uses scalloped fret boards, and had a signature model of [[Yngwie Malmsteen Stratocaster]] developed with [[Fender Musical Instruments Corporation|Fender]]. Ibanez JEM series guitars, designed and played by [[Steve Vai]], come standard with the last 4 frets scalloped. In 2008 Ibanez made available their [[Ibanez E-Gen|E-Gen]] model, a [[Herman Li]] signature, which includes four scalloped frets (21st to 24th). [[Karl Sanders]] of the death metal band [[Nile (band)|Nile]] also uses several guitars with scalloped frets, including several [[Dean guitars|Deans]], and KxK Guitars.
| |
| | |
| In the 1970s, English guitarist [[John McLaughlin (musician)|John McLaughlin]] played with [[Shakti (band)]], along with Indian violinist [[L. Shankar]], using an acoustic guitar with a fully scalloped fretboard. McLaughlin explained that this feature increased the ease and range of string bends by eliminating friction between finger and fretboard. The scalloped fretboard also facilitates the rapid, microtonal variation that is important in Indian music, as exemplified by classical Indian [[Sitar]] music. Without scallops, the guitarist must play microtones by sliding the string sideways on the fret.
| |
| | |
| Experimental luthier [[Yuri Landman]] made an electric guitar for [[John Schmersal]] of [[Enon]] called the [[Twister (guitar)|Twister]] with a partial scalloped neck for only the thin strings, (like little [[playground slide]]s).
| |
| | |
| Other examples of lutes with scalloped fretboards include the [[South India]]n [[Veena (instrument)|veena]] and Vietnamized guitar (called ''đàn ghi-ta'', ''lục huyền cầm'', or ''ghi-ta phím lõm'').The Japanese multi-instrumentalist and [[experimental musical instrument]] builder [[Yuichi Onoue]] made a deeply scalloped electric guitar for Vietnamese microtonal playing techniques.<ref>[http://www.hypercustom.com/yuichionoue.html Yuichi Onoue on hypercustom.com]</ref>
| |
| | |
| Scalloping can be:<ref name="warmoth-scallop">[http://www.warmoth.com/guitar/necks/necks.cfm?fuseaction=scalloping Scalloping] article at [[Warmoth]]</ref>
| |
| | |
| * '''Full''', i.e., all frets from the first to the last are scalloped
| |
| * '''Partial''', some of the high frets are scalloped for fast soloing. Popular examples include half scalloping (12th to the last fret, used by [[Kiko Loureiro]] of [[Angra (band)|Angra]],<ref>[http://www.espguitars.co.jp/artist/kiko_loureiro/index.html ]{{dead link|date=December 2010}}</ref> among others) or few top frets scalloping (19–24, 17–22, etc.), used by such guitarists as [[Steve Vai]]. When done by hand, sometimes fretboards can be scalloped half below D or G string, as in the case for Turkish luthier Kenan Turgut.
| |
| | |
| Note that filing away wood to scallop a fingerboard also touches [[inlay (guitar)|inlays]]—so fancily inlaid fingerboards usually aren't good candidates for scalloping. Simple dot or block markers survive the procedure well.
| |
| | |
| === Advantages and disadvantages ===
| |
| The "scooped out" nature of scalloped fingerboards creates a number of changes in the way the guitar plays. Most obvious, is that the fingertip only contacts the string, not the fingerboard itself, creating less [[friction]] for [[bend (guitar)|bends]] and [[vibrato]]s, which results in more overall control while playing.
| |
| | |
| However, that is also one of the main disadvantages. Many players, especially new players, may find a scalloped fingerboard too different to play easily, especially if the strings are light for the player or the player tends to press too hard. It takes practice to play in tune on a scalloped fingerboard. The player must first become accustomed to not actually touching the fingerboard. Playing a scalloped fingerboard requires a careful application of pressure: too much sharps the fretted note, as during a [[bend (guitar)|bend]], and too little pressure causes [[fret buzz]]. As a result, most guitar players use a traditional fingerboard on their instruments.<ref>{{cite book
| |
| |title = Getting Great Guitar Sounds: A Non-technical Approach to Shaping Your Personal Sound
| |
| |first = Michael
| |
| |last = Ross
| |
| |publisher = Hal Leonard Corporation
| |
| |year = 1998
| |
| |isbn = 978-0-7935-9140-4
| |
| |page = 15
| |
| }}</ref>
| |
| | |
| == Scoop of fretless bowed-string fingerboards ==
| |
| Fretless bowed-string fingerboards are usually scooped lengthwise in a smooth curve, so that if a straight edge is held next to the board parallel to a string, some daylight shows between them, towards the centre of the board. Usually the scoop is slightly greater on the bass side, less on the treble side of the fingerboard. Different string materials or different styles of playing may call for differing amounts of scoop. Nylon or gut strings require the most, and solid steel-core strings the least. A typical full-size (4/4) violin with synthetic-core G, D, and A strings shows 0.75 mm of scoop under the G string, and between 0.5 mm and zero scoop under the E, which is usually a solid steel core on modern instruments.
| |
| | |
| == Dip of guitar fretboards ==
| |
| On guitars, specifically steel-string and electric guitars, the relief (or "dip") is adjustable by altering the tension on the steel truss rod inside the neck. Relaxing the truss rod allows the pull of the strings to increase the dip, and vice-versa. Classical guitars do not need truss rods due to the lower tension of nylon strings, but should still exhibit some degree of dip.
| |
| | |
| == See also ==
| |
| * [[Scale (string instruments)]]
| |
| * [[Fingerboard synthesizer]]
| |
| * [[Bridge (instrument)]]
| |
| | |
| ==Notes==
| |
| {{reflist}}
| |
| | |
| == References ==
| |
| * [http://www.stringworks.com/care_maintenance.htm#fingerboard Stringworks U] brief description of fingerboard for violins, violas, & cellos
| |
| * [http://www.alangoldblatt.com/specs/Violin.pdf Violin construction detailed specification sheet by Alan Goldblatt] ([[Portable Document Format|PDF]], 18KB)
| |
| * [http://www.guitarrepairbench.com/acoustic-guitar-repairs/fretboard_repair.html Fretboard Repair] article explains common fretboard problems and repairs on the [http://www.guitarrepairbench.com/ Guitar Repair Bench Luthier Website]
| |
| * [http://luthierbuilt.net/article/michael-mccarthy/graduated-fingerboard-relief-and-radius/9-15-10 Graduated Fingerboard Relief and Radius] an artisan's article on [http://luthierbuilt.net LuthierBuilt]
| |
| * [http://www.ibanez.com Ibanez website gives specific neck/fingerboard dimensions]
| |
| * [http://www.ancient-future.com/guitar/scallop.html The Scalloped Fretboard Guitar] article
| |
| * [http://www.stewmac.com/freeinfo.html Free professional information about modern luthery (by Stewart MacDonald)]
| |
| | |
| [[Category:String instrument construction]]
| |
| [[Category:Guitar parts and accessories]]
| |