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Ragghianti Multi-scale Classical Guitar
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 Ragghianti MXM II Multi-scale Classical Guitar Said teacher, composer and performer David Cottam while playing this guitar for the fist time 2nd October 2009. Multiple-scale-length instruments date back centuries. In the last 20 or so years several individual luthiers have used this technique to enhance the playability and tonal balance of their guitars. The Ragghianti MXM II is the first multi-scale classical guitar designed by a master luthier but produced in quantities that bring its price within the reach of the general player. I have met Fabbio Ragghianti and am extremely pleased to have been granted the privilege of selling his guitars. When I was listening to David Cottam playing this guitar, the most striking thing was how rich in resonance and overtones was the sound and how these overtones were sustained. Despite this, I did not feel the sound was over-coloured or "muddy". To test my reactions when playing the fanned frets I sight-read a piece and kept my eyes on the music, not my hand. It was remarkable how easy it was to adapt; this instrument may look scary to play but it definitely is not. The designer, Fabbio Ragghianti has been building classical and other guitars in Italy for many years now. He has this to say about the conception and devlopment of the MXM guitar: "The 1st thing I did was to combine some of my intuitions with the ideas of both contemporary and past luthiers (Ruck, Monteleone, Mozzani). Then I used sacrificed as guinea pigs a series of instruments of scarce value that had been given to me by clients over 20 years of repairs. With the help of my guitarsis friends I was able to perform a series of practical tests. I call this instrument the MXM. "The first M stands for Monitor. It is a sound-port on the side in a strategic position (upper bout) that has a double purpose . First of all it acs lice a monitor allowing the performer to have a direct feedback. The soundport also has and acoustic valve. The instrument in this case functions like a pump: As the air comes out of the sound-hole it forms a column that prevents the outside air from entering. A 2nd opening increases the efficiency of the process of compression and rarefaction,. The idea of a 2nd opening originated from the observation of string instruments and above all the lure guitars of the early 20c century Florentine luthier Umberto Ballerini. They had a sound-port of about 2 cm in diameter on the top of the sound box extension where the additional bass strings were attached., Furtherm9re it is common knowledge that liquid flows out easier from and oil cruet if there is a 2nd opening that acts as an air vent. Air is a fluid and behaves in the same way. "The X comes from the shape of the back brace. Retrieving an idea of Luigi Mozzani, I obtained a decisive doming. I reduced the frequency of the back and in this way bettered the coupling with the soundboard. "Finally the 2nd M stands for Multiflex. it is a particular type of 6mm thick laminated wood that adapts itself to the sides. This makes a much stiffer frame than the customary 2 layers sides and creates an acoustic impedance that avoids vibration dispersion by concentrating it on the soundboard: the heart and brain of the guitar. "By adopting this methods I was able to avoid the use of kerfing and end block, creating a continual and uninterrupted internal cavity. A 6x6 mm graphite bar reinforces the neck creating a 2nd impedance. The instrument has a slightly heavier sound-box than normal that however is better balanced with the neck. All these elements combined with and easy playability, come together in a guitar of great projection, suitable for problem free performances in large open spaces and/or in the company of other instruments. This without compromising the quality and balance as can often happen in other heavier instruments." I think that the the sound port in the side of this guitar is of particular value. As has been noted above, the guitar projects extremely well. However, in my opinion, the amount of sound coming back toward the player, or coming in from the back of the guitar to the player's body, is less than normal. The port then does seem to provide better sound transmission to the player than would have been the case in a standard body guitar. The MXM II features
For more information on multi-scale length instruments have a look at the Wikipedia article "Multi-scale fingerboard" (en.wikipedia.org/wiki/Multi-scale_fingerboard). There was an article in Acoustic Guitar magazine specifcally about muliple-scale guitars. A couple of very short extracts give a taster for the rest of the article which you can read online at the publisher's web site - "There are several advantages to a multi-scale guitar, but perhaps the most significant is that it combines a long scale's power in the bass range with a shorter scale's sweetness and lack of twang." "In spite of its appearance, a multi-scale fretboard feels very much like a normal board. I've handed my guitars to musicians who often didn't even notice the multi-scale frets. My customers have told me that it takes no more than five minutes to get used to the multi-scale fretboard, which is transparent to the hands, if not the eyes." "Players who hold the guitar in a traditional classical position may find that the fret angles align with the natural motion of the elbow." "Multiple-Scale Fretboards - All you need to know about guitars with "fanned" frets", Harry Fleishman (www.fleishmaninstruments.com), Acoustic Guitar Magazine Issue 190 (www.acousticguitar.com) The Ragghianti Brand
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