The Unorthodox Guitar by Frengel Mike

Author:Frengel, Mike [Frengel, Mike]
Language: eng
Format: epub
Publisher: Oxford University Press
Published: 2017-01-31T16:00:00+00:00

Figure 6.21

Useful weave patterns: (a) a tight weave that alternates per string; (b) a weave that places the four inner strings at the same height; (c) a partial weave.

General Considerations

Weaves

A coupling preparation can be installed by weaving an object through the strings so that it passes under some and over others. A tight weave pattern that alternates per string tends to provide the most uniform results as well as holding the preparation firmly in place (Fig. 6.21a). Note, however, that weaves tend to create a discrepancy in the height of strings that pass over the object and those that travel under it, which can be especially pronounced when large diameter, rigid objects are used. The varying string height not only makes playing the instrument awkward, but it can also press the under-woven strings against the fret wires, preventing them from being stopped in lower positions. Indeed, weaves placed over the fretboard must be very thin if the strings passing under the object are to not touch the frets. The situation is more forgiving in the region between the end of the fretboard and the bridge, although even here, larger diameter objects will eventually cause the under-woven strings to touch the highest fret. Generally speaking, acoustic guitars are less prone to these problems.

Any weave pattern will need to have at least one or two strings passing under the object to hold it in place. With that proviso, however, various patterns may be employed. The weave pattern shown in Figure 6.21b places the four inner strings at the same height. Partial weaves can also be employed that only engage a subset of contiguous strings, although such preparations tend to become dislodged more easily (Fig. 6.21c). Note that each weave pattern in Figure 6.21 has an inverse (not shown) in which each of the strings would be on the opposite side of the preparation object. Inverting a weave can significantly alter both the resultant sound and the playability of the instrument .

Spectral Components

String coupling results in a spectrally dense and complex sound that is not nearly as predictable or controllable as that of a single-string attachment. Each individual string involved produces a complex timbre similar to that of a suspended string attachment, including bi-tones and a sub-tone. Because the strings are coupled, however, the components of all strings at play combine to form the composite result.

While sub-tones are present for each string, those for the outer strings tend to dominate. In cases of a woven coupling preparation, the pitch of the sub-tone can be controlled with remarkable precision by altering the degree to which the preparation object extends beyond the strings. As a starting point, we might imagine a metal dowel woven tightly through the strings and positioned so that the end barely extends beyond the sixth string. In this case, the resulting sub-tone will be roughly in unison with the pitch that would be expected—an open-string E2 assuming standard tuning. From this position, increasing the overhang causes the sub-tone to drop in pitch.

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