You don't even have to work towards the bridge to find the harmonics. You can start with the 12th fret harmonic (halfway between the bridge and nut!) then play the 7th fret harmonic, followed by the 5th fret harmonic, then the 4th fret (this same harmonic exists roughly above the 9th fret too!), then, by a process of experimentation you can use your finger to slowly get closer to the nut to find the additional harmonics which ofc do not reside above any actual fret.
Ok, you can do this on any stringed instrument. I don't understand what the point of this "experiment" is. Isn't this just common knowledge to everyone that plays a stringed instrument or am I missing something here?
I don't think that you are missing anything at all...... I am quite sure this same experiment can be done on any stringed instrument, as you had mentioned. I'm going to drag out my Taylor GS mini and first apply it to that and see for myself....wish me good luck!
I had to look it up, but apparently Lloyd Loar designed mandolins for Gibson and experimented with improving the instrument's resonance. So it's related to that in some way. "Demonstration" would be more accurate, as like you say, this is just the physics of strings in general.
@@karawethan Perhaps it has something to do with a design for steel strings vs. gut strings. I don't think you can get those high harmonics on gut strings.
You don't even have to work towards the bridge to find the harmonics. You can start with the 12th fret harmonic (halfway between the bridge and nut!) then play the 7th fret harmonic, followed by the 5th fret harmonic, then the 4th fret (this same harmonic exists roughly above the 9th fret too!), then, by a process of experimentation you can use your finger to slowly get closer to the nut to find the additional harmonics which ofc do not reside above any actual fret.
Round here, partials is what replaces missing teeth
As far as I know LLoyd Loar never made an F-4 Mandolin, it may be a loar era.
How many loads do you own
Ok, you can do this on any stringed instrument. I don't understand what the point of this "experiment" is. Isn't this just common knowledge to everyone that plays a stringed instrument or am I missing something here?
I don't think that you are missing anything at all...... I am quite sure this same experiment can be done on any stringed instrument, as you had mentioned. I'm going to drag out my Taylor GS mini and first apply it to that and see for myself....wish me good luck!
I had to look it up, but apparently Lloyd Loar designed mandolins for Gibson and experimented with improving the instrument's resonance. So it's related to that in some way. "Demonstration" would be more accurate, as like you say, this is just the physics of strings in general.
@@karawethan Ok, that makes sense, a demonstration rather than an experiment.
@@karawethan Perhaps it has something to do with a design for steel strings vs. gut strings. I don't think you can get those high harmonics on gut strings.