Yamaha Guitars :- Research and
Material Optimization.
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There are very good reasons why
Yamaha guitars continue to be made using wood rather than high-tech
man-made materials. To put it as directly as possible: there is simply nothing
better. But ensuring that the woods used deliver optimum performance in the
form of musical instrument requires special handling and crafting techniques
that in many cases resist scientific definition. It is an art that verges on
mysticism in many ways, but at the same time it is essential for a manufacturer
like Yamaha to understand how the materials respond and perform in order
to deliver consistently high quality in every instrument that goes out the
factory door. And here's where the Yamaha difference starts to show.
Yamaha's involvement with wood goes beyond mere
"understanding" and enters the realm of "control and
optimization." An extensive and vigorous R&D program not only provides
the data needed to make the most of the woods available, but also makes it
possible to modify and control their characteristics in ways that make them
even more suitable for use in Yamaha guitars.
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At Yamaha, the process of making
great Yamaha guitars begins long before the raw materials are even
delivered to the factory. Of course selection and procurement of woods and
other materials are critical steps, but the Yamaha difference goes even
further. The resources and facilities that Yamaha applies to basic
research and development alone are more extensive than many guitar
makers apply to actual production. And that level of involvement stretches back
for decades, giving the company an extraordinary stockpile of experience and
know-how that makes it possible to deliver innovative features and refinements
that are truly meaningful in a musical context.
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Traditional craftsmanship is still the
mainstay of fine Yamaha guitar manufacture, but innovative research and
material optimization drives the craft forward, providing unprecedented
tonality and playability that enables musicians to take their own craft to new
heights.
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A.R.E - Acoustic Resonance Enhancement
There is no question that the sonic properties of wood change, often improving,
as the wood ages. Although time is the only factor that can truly age anything,
Yamaha embarked on an in-depth research program to try and understand
what changes were actually occurring in the wood, and how that information
might be applied to improve the characteristics of younger woods. After years
of development the Yamaha guitar, Acoustic Resonance Enhancement
(A.R.E.) process was born, and is gradually being implemented in more
instruments as its benefits are being proven.
To clarify, A.R.E. is not specifically an aging process. The changes it brings
about in the wood are similar to those observed in aged wood, but the focus is
resolutely on achieving superior sound rather an "aged" sound. A.R.E.
has proven to be extraordinarily successful in optimizing the sonic qualities
of wood destined for use in Yamaha guitars.This unique process causes
physical changes at the cellular level, most directly affecting the wood's
cellulose and hemicellulose. Sound transmission is Significantly enhanced: the
wood becomes more responsive to input from the strings, and transmits the
vibration of the strings with greater accuracy. In sonic terms, the harsh
"edge" that is often heard in young wood is reduced, while the
sustain characteristics at different frequencies are brought into a more
balanced, well-coordinated relationship. The only way to really understand the
effect is to hear it, but expect to experience a crisp attack with a clean high
end that is smoothly coupled to harmonically rich mids and lows with remarkable
sustain. The sum result is outstanding balance with ideal response and sustain
throughout theYamaha guitars frequency range.
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processing is that it helps to stabilize the wood in addition to
improving its sonic properties. Wood is very active in absorbing moisture from
damp atmospheres and then releasing again when moved to a dry location. For
example, if proper care is not taken a guitar produced in a very humid
location that is then shipped to a dry environment can be prone to shrinkage
and cracking or distortion. Although Yamaha employs multiple
technologies as well as severe testing to ensure the stability of its
guitars, A.R.E. further contributes to stability by minimizing changes
in the wood as it is moved between different atmospheric conditions.
Drying Technology
Yamaha expertise in drying woods for Yamaha guitars is
unparalleled. That knowledge comes from decades of experience in preparing
woods for pianos, drums, bowed string instruments, woodwind instruments,
marimbas, and more. There are some who argue that natural drying is the only
way to go, but under properly controlled conditions - and "control"
is the key - artificial drying is capable of achieving more consistent
stability and quality. Even after more than 50 years of leadership in the
field, Yamaha continues to research and document drying methods,
applying refinements as they become available to ensure consistently great
Yamaha guitars.
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Finishes and Adhesives
Most of the finishes used on Yamaha guitars are formulated in-house.
Off-the-shelf products simply will not do because, in addition to looking good
and providing durable protection under a wide range of conditions, Yamaha
guitar finishes have to complement the instrument's sound as well. The
Yamaha research center employs advanced techniques to test and measure
the sonic characteristics of finishes as applied to guitar tone woods.
The finish must allow the most desirable sonic properties of the wood to come
through without damping resonance or sustain, while at the same time providing
protection and lasting beauty.
But even the most perfectly formulated finish won't deliver the desired results
unless it is applied properly, and this is another important area for research.
The quality of finishes on Yamaha guitars, is affected during
application by many factors: temperature, humidity, spray flow, number of
applications, thickness, drying, and more
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. The research center performs exhaustive testing under a variety of
conditions to determine the optimum application conditions for each type of
finish, and that know-how is then taken to the factories where it is applied to
actual production of Yamaha guitars.
The same type of testing is carried out for adhesives as well: how many grams
of adhesive must be used for how many square meters of surface area, with parts
brought together within how much time at what temperature, and then subjected
to how many kilograms of pressure for how long... it's complicated, but all of
these parameters have a significant influence on the quality of the glued joint
on the Yamaha guitars. The research center finds the optimum values and
passes that information on.
Experienced Makes the Data Meaningful
Since initial testing on individual components such as woods, finishes, or
adhesives only reveals the characteristics of the materials themselves, a great
deal of experience is required to be able to predict how those components will
affect the overall performance of an instrument. This is one of the areas where
Yamaha's many years of experience and accumulated know-how are extremely
valuable. Research performed without a strong background of experience is
essentially being performed in the dark. Yamaha's extensive history is
the critical "secret ingredient" that throws light on the results,
enabling engineers and craftsmen to apply them in meaningful ways. This leads
to a better Yamaha guitar in the end.
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Yamaha Guitars:-
Wood
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The individual woods used in a Yamaha guitar and the way they are
combined are the Yamaha guitar's most fundemental tone shaping elements.
Ther is no "best" wood or combination; the individual players tonal
preference and performance needs are the ultimate deciding factors.
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But there are basic requirements for strenghth, stability and tonal
balance that guide the selection. And of course after the type of wood has been
decided on, it then becomes necassary to select the best specimins and take the
best cuts from the stock that is available. To make a brilliant Yamaha
guitar.
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Cutting the wood is an art in itself, and getting the best cuts from raw
stock for Yamaha guitar use requires a keen eye and years of
experience.
The chart below lists some of the woods used for various parts of Yamaha
guitars along with their source and main characteristics. |
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Drying and
Seasoning
In Yamaha terminology, drying and seasoning are related but distinct
processes that have different goals. Drying is initially employed to reduce the
moisture content of the wood to a predetermined level, and seasoning then
stabilizes the wood so that it maintains its dimensional and tonal
characteristics through varying ambient conditions. Some manufacturers simply
buy pre dried wood from an outside supplier. Yamaha has a long history
of wood processing expertise, and is very serious about ensuring that all woods
used in Yamaha guitars are dried and seasoned to exacting standards.
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Endangered Species and the Environment
Unfortunately unsustainable harvesting of some of the exotic woods used in
Yamaha guitars has endangered their continued existence, and they must
be protected. This means that they cannot be harvested or traded, so fresh
supplies are simply unavailable until alternative sources are secured. Existing
stocks will continue to be used until they run out.
Although the acoustic properties of many of these woods are ideal for Yamaha
guitars, the health of our planet is far more important. As outlined in the
preceding section, Yamaha maintains an active materials research and
development program that is working to optimize the characteristics of
alternative woods as well as develop new materials that will have minimal
impact on the environment.
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Living trees absorb carbon dioxide from the air and produces vital
oxygen as they grow. They are an essential part of the natural mechanism that
maintains balance and sustains life on our planet. Yamaha has been
making musical instruments, including Yamaha guitars, for 120 years, but
that legacy can only continue into the future if we promote the sustainable use
of wood resources and sensitivity to issues of biodiversity and the depletion
of natural resources. Toward this end, Yamaha has established the
following "Yamaha Timber Procurement and Usage
Guidelines."
Yamaha Timber Procurement and Usage Guidelines
Fundamental Philosophy Yamaha is working on measures aimed at preserving
the global environment, and plans to enact the following guidelines for the
procurement and use of timber in products in cluding Yamaha guitars that
allow us to contribute to a more harmonious relationship between society and
nature.
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• Procuring appropriate timber. Promote procurement of
timber that is environmentally friendly from harvest to product delivery, and
that can be confirmed as having been appropriately managed.
• Prioritize procurement of afforested timber from planted forests.
Put priority on procuring timber harvested from planted forests.
• Active use of manufactured wood materials.
Promote use of plywood and wood fiberboard as these contain a high percentage
of afforested timber and recycled timber.
• Increase the efficiency with which we use timber, raising our yield
ratio.
Actively promote the use of timber remnants and improve yield ratios through
improved processing methods and technological development.
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Yamaha Guitars:- Elements of Sound and
Playability
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The Yamaha guitar's body is its main amplification
and resonance structure, and it makes the largest contribution to the
guitars overall sound. But although it is the largest tone determining
element. it is by no means the only one. The body's contribution is influenced
by every other part of the instrument: from the relatively large neck right
down to the glue that holds the bridge to the Yamaha guitar's top. The
Yamaha guitar is an extremely complex sound producing mechanism, and
everything in contact with it - including the player's body and fingers - makes
a difference.
Sound Hole
That's why producing a great Yamaha guitar is such a difficult task. The
number of factors affecting a Yamaha guitar's tone is nothing less than
overwhelming, and bringing them all together in a Yamaha guitar that
provides the desired sound and playability, not to mention durability and
beauty, is a significant achievement that hinges as much on the experience and
sensitivity of the builder as on fundamental physical principles.
In this section we'll take a brief look at some of the main elements that
influence an acoustic Yamaha guitar's sound and playability. But keep in
mind that none of these elements produce the desired result in isolation. Each
depends on every other in a finely balanced and tuned music making system.
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Body
Vibration of a Yamaha guitar's strings is transmitted to the top of the
body via the bridge. The top, driven by the strings, becomes the instrument's
primary "diaphragm," producing most of its audible output. The top is
supported by the back and sides, which make their own contributions to a
Yamaha guitar's tone and projection characteristics.
Here are just a few of the elements that add up to define how a Yamaha
guitar body will sound.
Woods
One of several varieties of spruce is used for the top of most Yamaha
acoustic guitars. Select Engleman Spruce is an important feature of the
LL, LS, and LJ series instruments. Back and sides might be a rosewood variety,
mahogany, nato, or ovangkol. But the fact that a particular type of wood is
more exotic and expensive doesn't necessarily mean that it's
"better." Only the player can decide what combination of woods and
Yamaha guitar design is best for his or her music.
Yamaha guitar numbers that include "A.R.E" indicate models
with tops that have been processed using Yamaha's groundbreaking A.R.E.
technology discussed in more detail in the "Research and Material
Optimization" section - for exceptionally smooth, musical tone and
response.
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Shape & Dimensions
Acoustic Yamaha guitar bodies are curvaceous creations for a very good
reason: their shape allows them to resonate effectively over a broad range of
frequencies, giving them the qualities of a Yamaha guitar rather than
just a box with a hole in it. Variations in body size and shape affect the
balance of the tone produced as well as the instrument's volume.
Large bodies with a broad waist generally produce greater volume with a smooth
midrange and more emphasis on the lower frequencies. Bodies with a smaller
waist usually deliver a tighter, more focused tone. The choice is entirely
personal, and will depend on the type of music played, how it is played
(strummed or finger picked, for example), and the environment it is played in
(solo, with other guitars, in ensemble with other types of instruments, etc.).
Another body shape consideration for players who frequently use the highest
fret positions is the cutaway. This feature is provided on some Yamaha
acoustic guitar models, allowing fret access and far greater mobility at
the upper frets than is available on traditional non cutaway bodies.
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Bookmatching
Solid Yamaha guitar tops are not a single piece of wood, but rather two
pieces joined down the center of the top. These two pieces of wood are
"bookmatched," meaning that they are cut from the same plank, sliced
into two thinner planks and opened up like a book. The resultant grain pattern
will therefore be symmetrical with respect to the central seam. The very best
Yamaha guitar tops are cut so that the grain becomes wider toward the
outside of the top. In all cases the selection, cutting, and bookmatching of
woods for Yamaha guitar tops are critical processes that demand a great
deal of skill and experience.
Bracing
Bracing - thin strips of wood glued to the underside of a Yamaha
guitar's top - in addition to the type and cut of the wood used, one of
the most important elements influencing a Yamaha guitar's volume and
tone. Bracing applied to the back and sides also has an effect on sonic
performance. The bracing configuration used can mean the difference between the
success or failure of an instrument, and ideally will complement and enhance
the qualities of the woods used and the instrument's overall design. Too much
bracing or braces that are too heavy will result in a dead sounding
guitar. At the other extreme - too little bracing or braces that are too
light - the guitar might sound unfocused and boomy, and the top may be
prone to distortion and breakage.
Yamaha Guitar top bracing patterns can be broadly categorized into two
types: "X bracing" and "fan bracing," each of which has
essentially limitless variations. Xbracing is generally the best match for the
higher string tension of steel string guitars, while fan bracing is
better suited to bringing out the tonal subtleties of nylon string
guitars with their lower tension.
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An example of X-bracing for a steel string guitar.
Note the tapered braces. In addition to the placement of the braces and their
dimensions, the taper of the braces is a critical feature that is crafted by
hand in high end models. A straight taper is used on some types of bracing,
while a curved taper is used on others. The taper determines how the top flexes
across its surface, defining its response and how it vibrations from the
strings are transmitted throughout the top. For the finest hand made
guitars the craftsman will carefully shave the braces to their
approximate final shape, tap the top to hear how it sounds, and then make
adjustments and repeat until the response is perfect.
In some cases the braces will be "scalloped" - a curved depression
will be carved near the center of the brace - to increase the flexibility of
the top and increase bass response. But, like most other Yamaha guitar
features, this one has to be matched to the instrument's materials and design
for optimum effect. Yamaha APX series guitars, for example, use
scalloped bracing in order to deliver well balanced bass from their relatively
compact, shallow bodies. In most larger bodies nonscalloped straight bracing
delivers the optimum tonal balance.
Every Yamaha acoustic guitar model has it's own bracing pattern
that is designed to optimize the performance of that particular model. Some of
the major variations are illustrated below.
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Yamaha Guitar Bracing Patterns
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Top and Back Curvature
This feature is not often given much attention, but it is important both for
strength and sound in Yamaha guitars. Giving the top a slight outward
curve adds strength and allows the use of a thinner top and lighter bracing
while optimizing transmission from the strings. The balance between the top's
curvature, thickness, and bracing is significant in determining tone. Back
curvature also enhances strength while helping to define the overall response
and resonance of the body.
Bridge
This critical component transfers the vibration of the Yamaha guitar's
strings to the body where they are amplified and invested with the instrument's
characteristic tone. The bridge also plays a vital role in determining a
Yamaha guitar's pitch accuracy and intonation, and must be installed
with the utmost precision.
The bridge of a Yamaha acoustic guitar usually consists of two
main components: the bridge base and the saddle (sometimes multiple saddles).
The saddle rests in a groove in the bridge base, which is glued directly to the
top of a Yamaha guitar. Since string vibrations must be transmitted
accurately to the body with minimum damping, relatively hard materials are used
for both bridge base and saddle. The bridge base is generally made of a dense
hardwood such as ebony or rosewood, while the saddle will be made of bone
(ivory is no longer an option) or a hard plastic. The materials used for the
bridge have a considerable effect on the guitar's tone.
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The strings rest on the saddle, in grooves precisely cut to
receive them while maintaining proper string spacing and radius. To maintain
proper intonation for all six strings the saddle is installed at a precisely
calculated angle, with the high E string end a bit doser to the neck than the
low E string end. The third (G) string sometimes requires a slight offset in
the saddle to achieve proper intonation
Neck
A Yamaha guitar neck is often seen solely from the perspective of
playability, but there is much more to it than that. Although the neck is where
much of the playing action happens, it also has a substantial influence on the
instrument's tone and sustain.
Woods and Construction
Since one of the most important characteristics of a Yamaha guitar neck
is rigidity, usually the hardest, densest woods are used: mahogany, rosewood,
nato, padauk, and sometimes maple. Necks can be carved from a single piece of
hardwood, or laminated in three or five pieces for added strength and rigidity.
Yamaha laminates mahogany with rosewood, padauk, or ebony in three piece
and five piece necks.
Truss Rod
The tension produced by a tuned up set of steel strings is considerable, and is
enough to warp even the stiffest wood neck. To counteract this force,
Yamaha steel string guitars have a metal "truss rod"
embedded in the neck with a hex nut or allenkey nut on one end that can be
adjusted to precisely compensate for the tension of the strings. The adjustment
nut can usually be accessed either via a removable cover on the headstock, or
at the body end of the neck through the sound hole. Yamaha Nylon string
guitars often don't have or need a truss rod because the tension of
nylon strings is much lower than steel. Careful adjustment of the truss rod not
only counteracts the string tension, bur also allows the neck to be fine tuned
for maximum playability. Allowing a small amount of neck "relief"
(curvature towards the fingerboard) makes it possible to lower the
guitar's "action" (the height of the strings from the
fingerboard) more than is possible if the neck is perfectly straight, for
example.
Neck-body Joint Yamaha acoustic guitars use
"set" necks, which means that the neck is fitted and glued into a
recess in the end of the body. The recess is actually cut into a specially
shaped block that is installed inside the body. The way this is done is
critical to achieving optimum tone as well as durability, and Yamaha has
an original approach. Rather than the more conventional mortise and tenon or
dovetail joint, Yamaha employs an innovative, complex joint
configuration that ensures consistently intimate contact between the neck and
body. This is important because the transmission of vibration between the neck
and body plays a major role in shaping response and sustain.
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The fit of the neck is so important to Yamaha that the neck and body are
perfectly matched and numbered before the finish is applied. The neck and body
are then finished separately, and once that process is complete the matched
pair is brought back together for final assembly. This painstaking approach
ensures that every Yamaha guitar that leaves the factory has a perfectly
matched neck and body.
Shape
Although primarily a playability issue, the shape of a neck also affects its
overall mass, which does have an effect on tone. The profile of the neck can
range from a somewhat flattened "D" through a rounded "D"
to a distinct "V" shape. The choice is strictly personal, but
Yamaha has spent many years researching and refining the ideal neck
shape on a Yamaha guitar for most players.
Fingerboard & Frets
The fingerboard and frets are the main interface between the player's fretting
hand and the instrument, so precision is essential. Ebony and rosewood are the
most commonly used fingerboard woods, providing the ideal blend of durability
and resilience for optimum tone. Fret grooves are cut into the fingerboard
blanks using precision computer controlled cutters to ensure consistently
accurate pitch at all positions. The material, height, width, and overall shape
of the frets themselves also affect playability, tone, and intonation, so frets
are manufactured and installed with the utmost care.
Nut
A Yamaha guitar's strings are suspended between the bridge on the body
and the nut, and it is the distance between the bridge and nut that determines
the pitch of the open string. The need for precision is obvious. The nut has
grooves in which the strings rest that are carefully cut to the appropriate
size, shape and depth. A poorly cut nut can cause intonation problems and
string buzz.
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Yamaha Guitar:- Amplification With
Optimum Tone
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When the size of a venue or the need to record makes
amplification necessary,the main requirement is that the guitar sound as
close as possible to the way it does naturally, and this is easier said than
done.
When we hear an acoustic guitar up close and unamplified we're hearing
sound from virtually every part of the instrument: the top, back, sides, and
even the neck and headstock to some extent. The sum total of all of that sound
is the guitar's true, natural tone.
Now consider what happens when the sound of the guitar is to be picked
up by an external microphone. In order to pick up only the sound of the
guitar as efficiently as possible the microphone has to be moved in
quite close, but that at the sametime means that the microphone
"focuses" on a small area of the instrument with the result that the
tone becomes unbalanced.'When using external microphones most live sound and
recording engineers will, whenever possible, use two microphones on different
areas of an acoustic guitar in order to achieve a balanced, musical
sound.
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Built in microphones, especially the
"contact" type that are directly attached to a part of the
guitar's body, are an even greater challenge because they generally pick
up the instrument's sound only at the point of attachment. Not only do the
microphones (usually called "pickups" when they are directly attached
to the instrument) have to be specially designed for the application, they have
to be positioned at the ideal location for optimum tonal and dynamic balance.
Multiple pickups at different locations are often used to achieve a well
balanced, natural sound. The preamplifier used with built in pickups will also
often be "voiced"(equalized) to achieve a natural tone, and variable
EQ controls may be provided to give the performer some control to adjust for
personal preference as well as the widely varying acoustics of performing
venues.
Another issue with built in pickups is that they effectively turn the entire
instrument into one big microphone that can require extra care and attention in
live performing situations. Output from the sound system speakers can be picked
up by the guitar body, amplified again and fed back to the system,
forming a loop that can causethe loud, piercing oscillation known as
"feedback." Careful pickup design and placement can go a long way
toward minimizing this problem, as can sound hole covers and other means of
reducing the instrument's sensitivity to external sound waves.
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Yamaha Acoustic Resonance Transducer Technology
Piezo transducers are ideal for contact pickup use, allowing accurate,
efficient pickup of vibrations from the surface on which they are attached. It
is this very accuracy that can be a problem when piezo pickups are attached
directly to a guitar's top, because they reproduce attack transients and
dynamics that are not efficiently transmitted via the air, resulting in a
balance that would only be accurate if you were listening with your ear pressed
against the guitar's top. Yamaha's has effectively resolved this
imbalance in the innovative A,R.T.(Acoustic Resonance Transducer), delivering
smooth, natural response that corresponds closely to the natural sound of the
instrument.
The A.R.T.pickup features a multi layer structure that provides the ideal
degree of damping without losing tonal subtleties that are essential to the
guitar's sound, Since it is possible to attach this advanced pickup
directly to the underside of the guitar's top, more of the instrument's
inherent resonance and tone can be included in the amplified sound.
The A.R.T pickup is available in one way and three way pickup systems, but even
in the one way System 56 two pickups are employed for optimum balance. |
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The three way System 57, System 59 and System 60
configurations actually employ a total of four pickups strategically located
for outstanding sound and tonal flexibility.In addition to two pickups placed
under the ends of the saddle, two more pickups are located near the bass and
treble ends of the bridge base. The output of the main (saddle), bass, and
treble pickups can be blended as required to achieve the ideal balance. System
57 and System 59 additionally include a three band equalizer for fine tonal
adjustment. Rather than a preamplifier panel fitted into the upper side of
the guitar, System 60 features pop up knobs that provide easy control
access while staying out of the way when not being used, without compromising
the visual elegance of the instrument's exquisite side wood. NXseries
guitars feature System 61, newly designed to complement the
characteristic warmth and full mid-range tone of these nylon string acoustic
instruments.
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Piezo Saddle and Hybrid Pickup Systems For some guitar
types and applications the more traditional method of mounting a piezo
pickup directly under the guitar's saddle is still preferable - nylon
string guitars are one example. Yamaha also offers a hybrid two way
system on some models that combines a piezo saddle pickup with a
"floating" condenser microphone mounted on a flexible gooseneck
inside the body. One advantage of these types of systems is that no pickups are
directly attached to the guitar's top, eliminating the small effect that
attached transducers might have on.
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For the ultimate in "unattached" electronics
there's also the one way direct out system offered on the LLX6, with a single
piezo saddle pickup and a control less preamplifier mounted on the neck block
inside the body. In this case nothing is attached to the body's top, sides, or
back.
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Yamaha Guitars:- Craftsmanship
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Even with the advanced manufacturing technology available today it
simply isn't possible to entirely automate the production of first class
acoustic guitars. The complexity of the task in addition to the need for
constant awareness of the materials being used and the ability to minutely
adjust for variations is beyond the scope of available technology. Machines do
play a vital role, but there is no substitute for the skill and sensitivity of
experienced craftsmen at many stages during the production of fine musical
instruments.
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Turning Designs into Great Guitars
Turning designs into great instruments isn't easy. Technical drawings can't
convey the intended tone of an instrument, or even much of the construction
methodology that creates the desired characteristics and sound. A huge part of
the process of creating great guitars comes down experience,
craftsmanship, and extensive trial and error testing that builds more
experience.
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Before the building can even begin the plans and intentions of the
designers have to be effectively communicated to the chief craftsmen at the
factory who will then develop an appropriate production process. The process
will be a combination of operations used for current models as well as new
methods and tools devised for use with that specific instrument. Every
guitar is different, and coming up with the ideal production methodology
and workflow is a critical step in achieving consistently high quality.
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Overdoing It
Sometimes "overdoing" things is the only way to ensure that the
desired quality is achieved consistently and in every possible situation.
Yamaha does take manufacturing details to extremes in many cases, but
the final results are unquestionably worth the extra effort.
The Yamaha process of pre matching bodies and necks before finishing is
one example. Experience has shown that the quality of the neck body joint plays
an important role in maximizing the instrument's tone and response. In short:
the fit must be perfect with intimate contact between neck and body. The
combination of pre matching and Yamaha's unique joint configuration
ensures that the ideal is realized in every Yamaha guitar produced.
Another example worth noting is Yamaha's approach to achieving the ideal
top curvature for each Yamaha guitar specially designed and built
contouring sander is used to shape the edges of the sides such that the top is
given an outward curve that places the point at which the bridge will be
attached at a precisely defined height above the edges. This helps to optimize
transmission of string vibration as well as producing a strong, durable top.
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This type of attention to detail extends throughout every phase of the
Yamaha guitar production process, from raw materials and design through
final testing.
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An Ideal Blend of Machine Precision and Human Skill
There are, of course, some tasks that are best left to machines - particularly
those that require extreme precision and repeatability. Cutting the fret slots
in fingerboards is a critical job that is handled by precision computer
controlled machinery, as is basic shaping of necks, for example. But in order
to deliver Yamaha guitars that precisely meet our customer's needs there
is often a need for variations that require individual attention. That's where
the skill and experience of Yamaha craftsmen can really shine.
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Crafting the Tools
There is innovation and craft behind the craftsmanship as well. Most of the
tools and jigs used for making Yamaha guitars have to be made by hand
for the purpose, and many are created specifically for a single model and won't
be used for anything else. Inventing tools and jigs that make it easy for the
factory staff to consistently produce perfect shapes and assemblies is an
important element of Yamaha's approach to craftsmanship. But tools and
jigs can wear and go out of alignment with use, so special care is taken to
keep them maintained and in perfect working condition at all times; an
important part of quality control.
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Keeping the Craft Alive
Because of the heavy reliance on skilled craftsmanship in the making of fine
Yamaha acoustic guitars, the only way to ensure consistent,
continued quality into the future is to pass the know how on to young
craftsmen. Yamaha makes this process an "official" part of the
Yamaha guitar manufacturing process. This kind of skill can only be
fully passed on person to person through involved hands on apprenticeship.
Craftsmen come and go, but Yamaha is dedicated to ensuring that the
basic skills as well as the many innovations developed along the way are
effectively passed on so that Yamaha guitars can continue to evolve.
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Worldwide Standards
In addition to factories in Japan, Yamaha operates guitar
factories in China and Indonesia that are run in the same way. From raw
materials to production processes, Yamaha maintains the same demanding
standards at all factories to ensure that every instrument that bears the
Yamaha logo delivers the fit and finish plus the sound and playability
that we intend and our customers have come to expect.
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Yamaha Guitars:- Quality Control From Concept to Service
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Yamaha takes the concept of "quality control" way beyond
simply checking finished products for defects. In fact, Yamaha maintains
dedicated staff and certified worldclass facilities that are devoted solely to
quality control, ensuring that all products are designed, developed,
manufactured, shipped, and serviced With maximum quality maintained throughout
the entire process.
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Quality control is just as important for Yamaha guitars as it is for
Yamaha's industry-leading digital mixing consoles, for example, but the way it
is applied differs in some ways in accordance with the way Yamaha guitars are
crafted as opposed to purely electronic devices. The most important similarity
- a motif that runs through all Yamaha products - is that quality control
begins at initial conception and design and carries on right through to
customer service after the product has been sold.
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Creating Quality that Lasts
The Yamaha quality control process can be broadly divided into 6 phases that
begin at a guitar's conception and continue for long after it is sold and in
the player's hands.
1: Virtual Review - Creating Quality on Paper
The Yamaha approach is to build quality into every Yamaha guitar right from the
beginning. This means that a proposed design will be subjected to multiple
"virtual review" sessions while the instrument is just an idea on
paper. Virtual reviews are attended by designers, engineers, craftsmen,
players, sales staff ... anyone with experience or understanding that can be
applied to improve the design and eliminate potential problems before they
occur. Designers and engineers from other divisions often join in to help
uncover issues from a fresh perspective: drum or violin developers, for
example, sometimes make invaluable contributions. Every aspect of the proposed
Yamaha guitar is thoroughly reviewed, as are the tools and methods by which it
will be constructed. Only when everyone involved is satisfied that the design
meets Yamaha's standards as well Naturally, players are consulted at every
stage of the development process, as appropriate to the product.
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For example, performing professionals might be enlisted to review a
pro-class instrument, while guitar teachers might be consulted for student
models. The players evaluate the Yamaha guitars from a "musical
instrument" perspective rather than a "products" perspective.
And that, in the final analysis, is what it's really all about.
2: Initial Prototype-Ideas Become Reality
Phase two of the development process is the construction of the first
prototype. The first prototype will be built according to the specifications
that come out of the initial virtual reviews, and will be once again subjected
to multiple reviews at which problems will be identified and measures for their
resolution decided upon. New features, in particular, will be examined in
detail to determine whether they actually fulfill a need and whether there's
any way they might be improved. In general, the first prototype is used to
physically review the design and features of the product itself.
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3: Pre-production Prototype - Refining the Process
Once the first prototype gets the green light from the review teams, a second
"preproduction" prototype is made. The second prototype is used both
to check for problems that may have been overlooked in the first prototype, and
to refine the production process by which the instrument will be made. Every
design requires its own special manufacturing techniques in some areas, and it
is essential to ensure that the entire manufacturing process will run smoothly
and deliver consistent results. Every tool, jig, and process that will be used
to build the final product will be reviewed in detail.
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4: Production - Non-stop
Quality Control One major difference between guitar manufacture and other types
of production is the involvement of craftsman at every step along the way. On a
television production line, for example, there might be tests at specified
points during the assembly process, but quality is only monitored at those
specific points. In the case of guitar manufacture, on the other hand, the
craftsman who is drilling a hole, gluing bracing, shaping a neck, or applying a
finish is monitoring the quality of the result as he works. QUality monitoring
is a continuous, uninterrupted process. Construction and crafting cannot be
separated from quality control, and each individual craftsman monitors his own
work as well as those of others working around him with great care and pride.
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5: Spot Checksand Feedback from the Field - Continued
Vigilance
Spot checks are regularly performed prior to shipping products from the factory
as well as on products received from off-site factories. If a problem is found
on an instrument in production, shipment is stopped immediately and the cause
is tracked down and rectified before shipment can resume. Anyproblems reported
by customers are also examined and dealt with immediately. In addition to spot
checks at the factory and general feedback from the field, and functioning
independently from the product divisions, is Yamaha's overall quality control
department. This dedicated quality monitoring organization will actually buy
products from retail outlets and perform random, independent testing. Any
issues uncovered are fed back to the respective product departments with orders
that the problem be solved posthaste. This type of checking is done from the
customer's perspective, totally independent from the development and production
divisions.
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6: In the Player's Hands - Lasting Quality
Yamaha guitar manufacture is not only a matter of selling Yamaha guitars now,
but also of considering how those Yamaha guitars will perform decades after
being made. In addition to a worldwide service network dedicated to responding
to customer's needs as swiftly and as appropriately as possible, Yamaha
maintains stocks of parts that might be needed to repair and service Yamaha
guitars for as long as eight or ten years after the product has been
discontinued. Sometimes longer. The cost is enormous, but the results in terms
of overall "quality" are well worth it.
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Severe Quality Testing Since quality cannot be fully assured on
the basis of theory alone, it becomes necessary to subject actual instruments
and parts to "controlled abuse" that tests their actual performance,
stability, and reliability to extremes.
Yamaha maintains a number of facilities dedicated to physical testing and
quality control - including the world-class Yamaha Quality Support Center that
houses some of the most advanced and sensitive testing facilities for
electronic devices available anywhere, plus some tortuous durability tests that
are almost shocking in their severity.
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Accelerated Environmental Testing
Of paramount importance in manufacturing guitars for worldwide distribution is
the need to ensure that the instruments will be able to withstand a tortuous
range of environmental conditions without damage or compromised
playability.Aneck that warps with every change in humidity will be nothing but
frustration for the player. At the extremes wood can crack and glue joints can
separate... none of which is acceptable for Yamaha guitars.
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To ensure that Yamaha guitars remain stable and reliable through all
types of environmental conditions, year after year, samples are subjected to
accelerated testing that simulates the severest conditions imaginable. The test
samples will be kept at -20 degrees Celsius for a period of time and then moved
to a +50 degree environment, and that process will be repeated several times
while measurements are made to check integrity and dimensional stability. The
same applies to extremes of atmospheric moisture, with instruments being
subjected to alternating periods at 90% and then 20% humidity. This type of
testing requires large-scale specialized facilities that are beyond the scope
of most manufacturers.
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Vibration and Drop Testing
Yamaha guitars must reach the customer in perfect condition, so packaging and
shock resistance are important quality issues. Testing is brutally Simple: drop
the product from a specified height (onto corners as well as top, bottom, and
sides), and subject it to severe mechanical vibration covering a range of
frequencies for extended periods. If the guitar and packaging can survive
Yamaha's internal testing, they can survive transportation around globe under
the roughest conditions.
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The Ultimate Goal
The ultimate goal of Yamaha quality control is total customer satisfaction.
That not only means delivering Yamaha guitars that are stable and reliable, but
also instruments that fulfill the player's musical needs and are capable of
growing and improving along with the player. And when a problem occurs,
responsive and effective support becomes an essential element of the quality
equation as well. Easier said than done. Like the Yamaha guitars themselves,
quality management must continually evolve to keep pace with continuously
changing markets, user needs, and technology. Yamaha is right at the leading
edge.
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