Signed in as:
filler@godaddy.com
Signed in as:
filler@godaddy.com
In the eve of releasing information about the Tirando Completo Tremolo (TCT) along with an accompanying prototype recording of it,
I am pleased to announce the optimal right-hand fingering for the typical tremolo as we all know it. It is the "m-i-a" finger sequence that has convinced me to be the best one (contrary to the most popular "a-m-i" or even "i-m-a" by some). Why?
First of all both of the above mentioned finger sequences suffer from the "m-a" alternation. It should be a no brainer by now that the ring finger ("a") is a problematic one compared to the other fingers. This means that these fingerings require for a speedy "m-a" cooperation and this is not such a good idea in my opinion.
The NPA tremolo fingering starts off with a solid middle finger ("m"), which is highly capable and literally sits in the middle of our hand and that means nerve signaling and blood supply is optimal. Everybody should know that the "edges" of our body have fluctuating blood supply and for example room temperature is a factor, meaning when being in a cold environment blood vessels contract. So the middle finger is certainly the most suitable one to follow the thumb.
After the "m" finger, the "i" finger is the best way to go so we can have an "i-m" alternation. This is the fastest neighboring couple of fingers we have (if we exclude the thumb = the "p-i" alternation). One can understand the usefulness of this already by playing "p-m-i" and (s)he will definitely see the ease and speed it provides.
To complete the fingering sequence, there comes the "a" finger, which is now the result of a speedy and easy "i-a" alternation, especially when compared to "m-a". Or you can just think of it this way: you have a perfect "p-m-i" sequence followed by a clumsy "a" rushing to end the sequence, which as mentioned above is the most problematic finger.
Here you have it, the best right-hand fingering for the typical tremolo. I am sure all possible combinations have been tried before, there aren't that many fingers after all haha, but this is not the discovery here. The discovery is the realization that THIS fingering beats the rest in execution (providing balance and ease/comfort) and of course reasoning.
Like all NPA announcements, you are free to use that knowledge or even discuss it with others BUT be grateful and always remember to state where you learned it from.
Have a nice October,
Nick Papadopoulos
https://www.facebook.com/share/p/wrQTdknCzrc2koSS/
[Photos 1-5: Toroni Nr. 1 guitar (with NPA hole)
Photos 6,7: Eythymiades guitar (regular guitar with NPA hole)
Photos 8,9: Cuenca Nr.10 guitar (also Toroni, with 10cm hole)]
VICTORY!!!!!!!!!!!!!!!!!!!!!!!!
The fully-cut NPA SOUND HOLE makes the Toroni Nr.1 guitar sound like perfection!!! (raw sample recording to come very soon)
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Why was I convinced to make the NPA sound hole "semi"-cut the first time?
Well it was because my successful experiment, the Eytymiades handmade guitar was cut that way and I didn't feel like changing something that worked. Thus I actually thought it worked because such small obstruction of the hole might be negligible, and I just didn't want my luthier παναγιωτης Λαμπης to be bothered with extra detailed work and hassle.
But now that I KNOW that the hole MUST NOT (!) be obstructed, I wondered: why did the Eythymiades guitar sound soooo good?
I believe the answer is to be found in the 7th photo. One can easily notice that the guitar thickness (distance from top to back) is smaller at the upper portion of the guitar. This could explain the slight tendency to the "brighter" side, and this extra "brightness" was luckily compensated with the hole obstruction it seems. (Also compare with the 5th photo of the Toroni Nr.1 guitar)
In any case, there is typically one more experiment to be done and that is with the Dieter Mueller handmade guitar. I will again do it in two steps:
1st a semi-cut NPA Hole (just like with the Eythymiades guitar and Toroni Nr. 1 the first time) and (if needed) THEN a fully-cut one.
(Because, let's be honest, there are many factors that contribute to the tone: woods, glues, top inner manufacturing techniques, you name it. So if I can have at least one safety step, why not use it? )
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Here are some photos of the Toroni Nr.1 guitar sporting the NEW NPA Sound Hole
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(small issue)
I need to run some tests before uploading an audio sample because there is still a tiny bit of "darkness" with the guitar (playing with the proper strings that Guitar Tone Grading suggested).
Right now 2 scenarios come to mind:
1) (since I decided not to cut the fretboard) -> the fretboard and little pieces of wood left and right cover the hole a bit giving a "darker" tone (--- highly doubt it, I would consider it negligible)
2) the new hole affects my Guitar Tone Grading system (GTG) by a grade (or two?) (--- I believe this might be the case)
Maybe the ordinary hole which offered a "darker world" matched with strings that were proportionally "darker". That might have tricked my ears and I can see it makes sense!
(even though the opposite could also be expected, for me to have used "brighter" strings to compensate for the "darkness")
So an update will come soon, plus I have one more guitar left to test and confirm the findings I get from this guitar
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Kudos again to παναγιωτης Λαμπης for being a highly-skilled luthier!
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