The differences in sound and function of classical and flamenco guitars are enormous. The colour spectrum, response, dynamic range, balance, loudness, and projection are some of the variables that distinguish them. How are these achieved, and how can specific ideas be realised?
Acoustically treated the guitar forms a coupled oscillation system. The finger plucks the string and initiates the string vibration, this causes the neck and bridge/top vibration, and this in turn sets the surrounding air at the interior and exterior of the top into movement.
Plate oscillations (top, back, sides), air chamber vibration (Helmholtz resonant frequency and others), string oscillations, and the resonant
frequencies of each single component (braces, bars, linings, etc.) influence and interfere with each other in a favourable or unfavourable manner.
A complicating factor is that the guitar as a polyphonic instrument should have the capacity to project up to 6 tones, fundamentals and harmonics, evenly at the same time with only a single energy pulse per tone, the strike of the finger (compared with this a violin e.g. has to excite a maximum of 2 tones at the same time, with the help of a bow which can produce a permanent energy pulse).
In order to meet these unique requirements guitar construction concentrates mainly on three areas, the selection and tuning of the wood, construction design, and methodology.
Each area contains an enormous number of parameters and possibilities, and because of the coupling every change in detail can lead to an immense change as a whole.
