Hopf Grand Concert classical guitar. Originally Posted by DrJamie. J Patrick. Ted LA Guitar Sales. There are a few interesting posts about "clarity" up here try the search and it's affect on "banjo killing" in bluegrass-type situations. I don't notice the difference between it and my other guitars as much playing at home, but when I play at church, huge difference. It really fills the room. My Martin OM gets completely lost in the larger room if it's not plugged in.
My dread hardly needs to be plugged in, even with the full band playing. It's huge! It's built to HD specs. Oh man Builders know which designs and combinations will produce good volume, and maybe I'm wrong, but I doubt they will know EXACTLY how loud a guitar will be until it's finished. To me it's more than simply loudness or volume. I'm also very much interested in how well a guitar projects since I do many unplugged performances and sessions with other instruments.
For instance, the D I sold had good volume but didn't project all that well when played acoustically, possibly due to the depth of tone. As a result, my brighter Guild FR that has excellent volume and great projection, can be more easily heard when playing with other instruments.
But it has a very full, balanced, loud voice with great projection and definitely 'louder' than the D And for my needs, this is what I need, thus the reason for selling the D Originally Posted by Oracle.
Wade Hampton. There's a difference between loudness and projection. One of the loudest guitars I ever ran into was a 's Taylor jumbo that just roared, but it didn't project well at all, it was just this wall of mud coming at you from across the room.
Martin D's are typically quite loud, but, again, they often perhaps even usually , don't project very well. So what seems loud when you're playing it or standing next to it might not be heard very well when there are other instruments being played at the same time.
So it's critical to understand the differences between loudness and projection - some loud guitars also project quite well, but those two aspects don't automatically occur in the same instrument.
Hope that makes sense. Wade Hampton Miller. Tony Done. TIP Some good materials for a change are bone, Tusq, or another option that works very well is Corian commonly used for kitchen benchtops. A couple of stats we found on particular guitars were db for the Martin Bluegrass 16, and db for a Collings D2HA.
If you have thousands of dollars burning a hole in your pocket and you want loads of volume, then look at vintage Archtop guitars — these were explicitly made to complement big band instruments. If you like new technology, then get your hands on a Rainsong carbon guitar, as carbon fiber has great resonance. When you eventually find that perfect cannon, I think you will love it possibly more for its tone and playability than its sound volume alone.
Skip to content A common question amongst guitarists revolves around what brands and models of acoustic guitars are the loudest. Note that these lists are not in any particular order of volume.
Collings CJ35G. Guild F 12 String. Guild FR. Guild F Guild FXL 12 String models. Flammang AJ Rainsong JM carbon fiber. Gibson Hummingbird. Martin D18A. When we're talking about guitar strings, volume is a measurement of amplitude—the height or size of the vibration that moves the air and translates to sound in our ears.
Simply put, the higher the amplitude, the louder the sound. From that fact, it seems obvious that string flexibility plays a key role in allowing a string to move freely with a large amplitude. If this were the only criterion, a rubber band would make a seriously loud guitar string.
However, the reality is that a string by itself doesn't displace enough air for us to really hear that vibration as volume. The string needs a resonating surface—acting as a natural amplifier—to displace sufficient air for us to experience the sound in an appreciable way.
When the string transfers its energy to a larger surface, like the top of an acoustic guitar, the sound waves in the air are amplified and further intensified by a resonating chamber inside the guitar.
In this context of a string on an acoustic guitar, a very flexible string creates more volume. But amplitude and flexibility alone don't explain volume. In order for a guitar string to have a chance of setting the rest of the guitar in motion, it needs momentum. The top of a guitar has inherent weight and stiffness that the vibrating string's momentum must overcome before it, too, can vibrate.
The more momentum the string possesses, the more easily and quickly the guitar will be set in motion. Because a string's momentum is defined by weight and tension, a heavier string will produce enough momentum to get the guitar top going as well. When you increase the string tension, you make it easier for those vibrations to transfer to the guitar's top—so while a limp, down-tuned string might have weight and motion, the momentum will dissipate before it ever has a chance to make the guitar itself resonate.
So, we know that a heavier string and lots of tension will create more momentum directed at the top of the guitar, but remember that we still need flexibility. Using heavier strings and adding tension can reduce the string's flexibility, reducing its potential volume unless the stiffness is overcome, usually by the player simply hitting the string harder.
In fact, this stiffness can make the string behave more like a solid-metal rod by damping out the high-frequency harmonics that occur along its length. The result is a more fundamental-focused vibration with fewer ringing overtones—a sound guitarists often describe as "thick" or "round.
To compensate, we need to consider another variable: length. The string becomes more flexible as you increase its length, but even this is fraught with complications.
Paradoxically, the longer you make the string, the more tension you must apply to achieve the desired musical pitch. When you add tension, you also increase the guitar top's resistance to movement, making it functionally stiffer.
What are your experiences? Improve this question. Bradd Szonye 6, 9 9 gold badges 37 37 silver badges 74 74 bronze badges. Bodies specifically designed for a louder sound are for example archtops or the european selmer maccaferri's. Add a comment. Active Oldest Votes. Improve this answer. All correct from a theoretical physics perspective, but some of your assertions do not hold up to the actual practice of lutherie.
For example, a soundboard made of "as soft a wood as will endure the tension" is not a functional solution. Basswood and balsa wood are not used for guitar tops because they are so soft that they absorb vibration.
Although any wood that is preferable does not have to be strong, because the guitar soundboard is always braced to be structurally sound. Werner M. Werner 2, 12 12 silver badges 4 4 bronze badges. Everett Steed Everett Steed 1 1 silver badge 8 8 bronze badges. Brian Towers 4, 3 3 gold badges 12 12 silver badges 38 38 bronze badges. Brent, the only way your post could be improved is by posting a link to the Santa Cruz website page.
It is, otherwise, a fine answer — bigbadmouse. Sign up or log in Sign up using Google. Sign up using Facebook. Sign up using Email and Password. Post as a guest Name. Email Required, but never shown.
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