Читать книгу The Uke Book Illustrated - John Weissenrieder - Страница 7
ОглавлениеCHAPTER
1
ANATOMY
LET’S MEET OUR UKULELE IN ITS FINISHED FORM FIRST, TO LEARN THE NAMES OF ALL OF ITS PARTS.
Headplate veneer
Cres
Tuning machine
String post & button
Head
Nut
Fret
Fingerboard
Neck
Heel
Heel cap
Neck block
Kerfed lining
Side
Binding
Purfling
Rosette
Soundboard
Bridge
Saddle bone
Tie block
Wing
Tail block
End graft
Fan brace
Bar
Back bar
Back
Back joint reinforcement
Rib block
Plantilla
Diapason
Fret position markers
Strings
Soundhole
Label
Sound box
AND NOW, LET’S MEET THE UKULELE IN ITS RAW-MATERIALS STATE.
The shape (plantilla) of the instrument shown in this book is reminiscent of the Spanish classical guitars of the early 1900s. Compared to many industrial ukuleles, the shoulders are slightly more squared off, the lines of the waist are straighter, and the lower lobe is weighted toward the bottom of the instrument. It’s an elegant shape compared to the more whimsical, circular curves found on most commercial instruments.
On the following pages, you’ll find scaled drawings of a tenor ukulele. Whether you use these plans or come up with a design of your own, it’s a good idea to print out a complete set of full-size drawings and keep them at hand throughout the assembly of your own ukulele. On these drawings, you’ll find exact answers to a lot of the nagging little questions that invariably come up during the building process.
The shape you use is up to you. I don’t recommend deviating too much from traditional shapes and proportions on your first instrument. Significant variations in the volume (cubic cm or cubic inches, not loudness) of the sound box and in the diameter and/or area of the soundhole can have a significant effect on the resonant frequency (the Helmholtz frequency, for science buffs) of the instrument, which in turn affects the harmonic response and timbre of the instrument.
The geometry of the fingerboard and the relationship between the neck and the body of the instrument are important. Unless you have a thorough understanding of the dimensions, relationships, and angles involved, stick to these plans or plans from another proven design.
Vibrating strings
The playability of the instrument depends mostly on the height of the strings above the frets and the relative flatness (or very slight curvature) of the fingerboard/frets. It’s easier to get all the notes playing distinctly and cleanly without having to set the strings too high on a small instrument, such as the tenor ukulele, than it is on, say, a guitar, where the scale length is longer, the string tension is higher, and there are more strings.
Everyone wants to know how to make an instrument that sounds “better.” There are no magic answers. The best way to ensure a satisfying result for the beginner is to follow a tried-and-true design, use quality materials, and work with the best craftsmanship you can.
It is generally agreed upon by luthiers that the soundboard is the most important element when it comes to good sound. The soundboard is the part of the instrument that pumps the air, much like the cone of a loudspeaker does. The soundboard transforms the energy of the vibrating strings into sound waves that move through the air. The soundboard imparts innumerable subtle frequencies and timbric nuances that give each instrument its own unique voice. Other important factors in determining the timbre or voice of an instrument are the strings and the player’s attack, or how and where the string is plucked and with what (fingernails, pick, or fleshy fingertips).
The whole instrument vibrates when it is played—the head, neck, back, sides, and top Any spot that is too weak to hold up to the tension of the strings, or too heavy and strong to vibrate freely and harmoniously with the rest of the instrument, will produce a compromised result.
The tenor ukulele weighs about 750g (1lb 10oz), or about as much as a kitten. The accumulated tension of the four strings is about 30kg (66lbs), comparable to a big sack of rice. To support all that weight (or, in the uke’s case, tension) and still sing out, it takes a strong and clever kitten! Or, rather, a well-designed and well-built ukulele.
MATERIALS
All dimensions are length x width x thickness unless stated.
Top
Plates: 32cm x 12cm x 3mm
Rosette (inside diameter): 70mm
Struts (3 pieces): 18cm x 7mm x 12mm
Soundhole reinforcement:
8.2cm x 10cm x 2mm
Neck
Neck blank: 33cm x 7cm x 18mm
Head blank: 12cm x 7cm x 12mm
Heel block: 9cm x 7cm x 55mm
Headplate veneers:
13cm x 7cm x 0.5-2.0mm
Back
Plates: 32cm x 12cm x 3mm
Center reinforcement: 27cm x 1.8mm x 2.5mm
Bars (one each):
18cm x 7mm x 12mm
15cm x 7mm x 12mm
23cm x 7mm x 12mm
Sides
51cm x 7.5cm x 1.8mm
Fingerboard and friends
Fingerboard:
28cm x 36mm x 46mm x 5mm
Frets: 86cm
Position markers: 6 pieces
Kerfed linings: Make 4 lengths of 25cm of each type, plus one extra.
Bridge blank: 11cm x 25cm x 1cm
Nut & saddle
Rib supports: 10 pieces, 3cm x 7mm x 7mm
Tail block: 7.5cm x 5cm x 1cm
Bindings, purflings, heel cap, end graft
Tuners, 4
Strings