This article is about all types of non-electric guitars. For the modern form of acoustic instrumts, see steel-string acoustic guitar. For the magazine, see Acoustic Guitar (magazine). For the album by Preston Reed, see Acoustic Guitar (album). For the Danish group, see Acoustic Guitars (band).
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An acoustic guitar is a musical instrumt in the string family. Wh a string is plucked, its vibration is transmitted from the bridge, resonating throughout the top of the guitar. It is also transmitted to the side and back of the instrumt, resonating through the air in the body, and producing sound from the sound hole.
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The original, geral term for this stringed instrumt is guitar, and the retronym 'acoustic guitar' distinguishes it from an electric guitar, which relies on electronic amplification. Typically, a guitar's body is a sound box, of which the top side serves as a sound board that hances the vibration sounds of the strings. In standard tuning the guitar's six strings
Guitar strings may be plucked individually with a pick (plectrum) or fingertip, or strummed to play chords. Plucking a string causes it to vibrate at a fundamtal pitch determined by the string's lgth, mass, and tsion. (Overtones are also prest, closely related to harmonics of the fundamtal pitch.) The string causes the soundboard and the air closed by the sound box to vibrate. As these have their own resonances, they amplify some overtones more strongly than others, affecting the timbre of the resulting sound.
Gitterns, (small, plucked guitars) were the first small, guitar-like instrumts created during the Spanish Middle Ages with a round back, like that of the lute.
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The earliest string instrumts related to the guitar and its structure were broadly known as vihuelas within Spanish musical culture. Vihuelas were string instrumts that were commonly se in the 16th ctury during the Raissance. Later, Spanish writers distinguished these instrumts into two categories of vihuelas. The vihuela de arco was an instrumt that mimicked the violin, and the vihuela de Pola was played with a plectrum or by hand. Wh it was played by hand it was known as the vihuela de mano. Vihuela de mano shared extreme similarities with the Raissance guitar as it used hand movemt at the sound hole or sound chamber of the instrumt to create music.
By 1790 only six-course vihuela guitars (six unison-tuned pairs of strings) were being created and had become the main type and model of guitar used in Spain. Most of the older 5-course guitars were still in use but were also being modified to a six-coursed acoustical guitar. Fernando Ferandiere's
Book Arte de tocar la Guitarra Española por Música (Madrid, 1799) describes the standard Spanish guitar from his time as an instrumt with sevte frets and six courses with the first two 'gut' strings tuned in unison called the terceras and the tuning named to 'G' of the two strings. The acoustic guitar at this time began to take the shape familiar in the modern acoustic guitar. The coursed pairs of strings evtually became less common in favor of single strings.
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Finally, circa 1850, the form and structure of the modern guitar are credited to Spanish guitar maker Antonio Torres Jurado, who increased the size of the guitar body, altered its proportions, and made use of fan bracing, which first appeared in guitars made by Francisco Sanguino in the late 18th ctury. The bracing pattern, which refers to the internal pattern of wood reinforcemts used to secure the guitar's top and back to prevt the instrumt from collapsing under tsion,
Is an important factor in how the guitar sounds. Torres' design greatly improved the volume, tone, and projection of the instrumt, and it has remained esstially unchanged since.
The acoustic guitar's soundboard, or top, also has a strong effect on the loudness of the guitar. Woods that are good at transmitting sound, like spruce, are commonly used for the soundboard.
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No amplification occurs in this process, because musicians add no external ergy to increase the loudness of the sound (as would be the case with an electronic amplifier). All the ergy is provided by the plucking of the string. Without a soundboard, however, the string would just cut through the air without moving it much. The soundboard increases the surface of the vibrating area in a process called mechanical impedance matching. The soundboard can move the air much more easily than the string alone, because it is large and flat. This increases the tire system's ergy transfer efficicy, and musicians emit a much louder sound.
In addition, the acoustic guitar has a hollow body, and an additional coupling and resonance effect increases the efficicy of ergy transmission in lower frequcies. The air in a guitar's cavity resonates with the vibrational modes of the string and soundboard. At low frequcies, which depd on the size of the box, the chamber acts like a Helmholtz resonator, increasing or decreasing the volume of the sound again depding on whether the air in the box moves in phase or out of phase with the strings. Wh in phase, the sound increases by about 3 decibels. In opposing phase, it decreases about 3 decibels.
As a Helmholtz resonator, the air at the oping is vibrating in or out of phase with the air in the box and in or out of phase with the strings. These resonance interactions attuate or amplify the sound at differt frequcies, boosting or damping various harmonic tones. Ultimately, the cavity air vibrations couple to the outside air through the sound hole,
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Variants of the acoustic guitar omit this hole, or have f holes, like a violin family instrumt (a trait found in some electric guitars such as the ES-335 and ES-175 models from Gibson). This coupling is most efficit because here the impedance matching is perfect: it is air pushing air.
A guitar has several sound coupling modes: string to soundboard, soundboard to cavity air, and both soundboard and cavity air to outside air. The back of the guitar also vibrates to some degree, driv by air in the cavity and mechanical coupling to the rest of the guitar. The guitar—as an acoustic system—colors the sound by the way it gerates and emphasizes harmonics, and how it couples this ergy to the surrounding air (which ultimately is what we perceive as loudness). Improved coupling, however, comes costing decay time, since the string's ergy is more efficitly transmitted. Solid body electric guitars (with no soundboard at all) produce very low volume, but td to have long sustain.
All these complex air coupling interactions, and the resonant properties of the panels themselves, are a key reason that differt guitars have differt tonal qualities. The sound is a complex mixture of harmonics that give the guitar its distinctive sound.
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Classical gut-string guitars lacked adequate projection, and were unable to displace banjos until innovations introduced helped to increase their volume. Two important innovations were introduced by United States firm C.F. Martin: steel strings and the increasing of the guitar top area; the popularity of Martin's larger dreadnought body size among acoustic performers is related to the greater sound volume produced. These innovations allowed guitars to compete with and oft displace the banjos that had previously dominated jazz bands. The steel-strings increased tsion on the neck; for stability, Martin reinforced the neck with a steel truss rod, which became standard in later steel-string guitars.
An acoustic guitar can be amplified by using various types of pickups or microphones. However, amplification of acoustic guitars had many problems with audio feedback. In the 1960s, Ovation's parabolic bowls dramatically reduced feedback, allowing greater amplification of acoustic guitars.
In the 1970s, Ovation developed thinner sound-boards with carbon-based composites laminating a thin layer of birch, in its Adamas model, which has be viewed as one of the most radical designs in the history of acoustic guitars. The Adamas model dissipated the sound-hole of the traditional soundboard among 22 small sound-holes in the upper chamber of the guitar, yielding greater volume and further reducing feedback during amplification.
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The most common types of pickups used for acoustic guitar amplification are piezo and magnetic pickups. Piezo pickups are gerally mounted under the bridge saddle of the acoustic guitar and can be plugged into a mixer or amplifier. A Piezo pickup made by Baldwin was incorporated in the body of Ovation guitars, rather than attached by drilling through the body;
Magnetic pickups on acoustic guitars are gerally mounted in the sound hole, and are similar to those in electric guitars. An acoustic guitar with pickups for electrical amplification is called an acoustic-electric guitar.
In the 2000s, manufacturers introduced new types of pickups to try to amplify the full sound of these instrumts. This includes body ssors, and systems that include an internal microphone along with body ssors or under-the-saddle pickups.
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Historical and modern acoustic guitars are extremely varied in their design and
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