Another sample

[Tim Benware]

I thought some of you may enjoy this. It was from this guitar:

viewtopic.php?f=24&t=2385

[Dave Bagwill]

Tasty!

[Jim Ebert]

Again, that is a very nice sounding guitar. I am curious about some of the build specs re: relative top and back thicknesses, bracing, reflective vs. reactive back etc. I love the warm resonant sound that you have achieved. Thanks in advance,
Jim.

[Tim Benware]

Again, that is a very nice sounding guitar. I am curious about some of the build specs re: relative top and back thicknesses, bracing, reflective vs. reactive back etc. I love the warm resonant sound that you have achieved. Thanks in advance,
Jim.

top thickness - I do my best to custom voice my tops. I use the warble method that Robbie O'Brien teaches i.e. shake the top like a piece of metal to get that thunder warble sound (if that makes sense to you).

back thicknesses - I thin my backs to between .090 and .1", nothing to scientific here but I do try to get 4 distinct tap tones between braces. No major brace carving but there is some.

bracing - I carve my braces until I achieve the tone I'm looking for and it varies with the guitar size, wood type, etc. and the sound I'm trying to achieve. This has taken me some time to hone in on and what I'm hearing may not be what some one else hears. Also brace positioning has subtle effects on tone i.e. X brace placement, tone bar placement, and finger brace placement

reflective vs. reactive back - My backs are, to me, a combination, as stated above I try to achieve 4 separate tap tones between brace placement, all to my ear.

I know this is somewhat vague but I have found the process to be somewhat individual to the builder. I have done a lot of reading and some experimenting to get to this point. Most of what I have tried has worked for me.

[Jim Ebert]

Tim, thanks for the response. I have Robbie's still string course so I am familiar with what he teaches. I have not yet purchased Kent Everett's DVD on voicing that Robbie recommends, but am considering it. I have been doing a lot of reading as well. I am getting ready to start the voicing on my three dreads that I have started so when I hear a guitar that I like the sound of I want to know as much as I can so I can start in that direction. Did you work off of a set of plans for this one? Also what kind of effect would you say that the over sized sound hole has had? Did it lower the resonant frequency? Thanks again.

[Tim Benware]

Tim, thanks for the response. I have Robbie's still string course so I am familiar with what he teaches. I have not yet purchased Kent Everett's DVD on voicing that Robbie recommends, but am considering it. I have been doing a lot of reading as well. I am getting ready to start the voicing on my three dreads that I have started so when I hear a guitar that I like the sound of I want to know as much as I can so I can start in that direction. Did you work off of a set of plans for this one? Also what kind of effect would you say that the over sized sound hole has had? Did it lower the resonant frequency? Thanks again.

You're welcome. I don't work with plans or the bracing locations on the templates I use. I have my own placements I use. I am sure there was some change but what it might be would be hard to tell (without measurement instruments of which I have none). Each species type and piece of wood likely take the effect differently. Not sure I would use it to try and achieve a specific sound.

[ken cierp]

Just an observation --- but try and find a post on "any forum" (or the entire internet for that matter) where the poster/builder complains that they have built a really crappy sounding guitar -- kit or scratch. Poor finish/fit are mentioned and scrutinized but often the comment is the "best sounding" guitar I've ever played --- sometimes with accompanying testimonials.

We can certainly science the daylights out of guitar building --- but in my opinion building a few is the best teacher. Thumping on the sound board and back, listening for resonance and decay as you go can reveal a lot about what can be expected out of the finished instrument. I believe we are all born with the ability to distinguish between the tap tone of a piece of cardboard and resonant wood. As well as resonant assembly and one not so much.

This notion is why hundreds of thousands of "formula" guitar are made and sold every year ---- and many are believed to sound great or outstanding.

Build it light, build it tight --- obsess over intonation and action, and you will surely build the best guitar you ever played. But be prepared, some will disagree as they do with every single guitar that has been made -- is all subjective, there is no Holy Grail!!