Acoustic Guitar Construction

Wow. How wide is the lower bout?

The relatively large sound hole should push the Helmholtz freq of the box higher, reinforcing the low amplitude high frequencies ladder bracing is known for. This design should really cut through the air, rising above everything else making sound at the same time. I can see why you call it "gypsy". I titled a painting that has the "cutting through" characteristic - only visual - GYPSIES KISS, for similar reasons. It hangs in my living room.

Somogyi holds that ladder bracing destroys the "monopole" which would weaken bass. But the extreme doming of this top just might generate enough unity to keep the top moving as a whole anyway - my guess is yes. If it were mine - you can probably guess this - I would decouple the top braces from the sides, which would, in any case, give the monopole more room to run. But then, I never met a decoupled top I didn't like.

You could also change the neck angle a degree or so and point the fingerboard higher, so that the saddle is further from the top, increasing downward pressure (and volume).

Don't know if you are dedicated to your plans, or you like to bust plans. Please forgive me if I'm going over the top. That is an inspiring design with a very beautiful layout. Piques my imagination.

I hadn't thought about lamination freeing one to use roiled grain. It certainly would, though, and with impunity.

The specs are: length 18 5/8 LB 15 3/4 UB 11 7/16

The gypsy guitars - based on the Selmer-Macaferri instruments, have a very high bridge as part of their design, and a pronounced neck angle. These factors make them less desirable as finger-style guitars, though the strong fundamental is conducive to strong blues playing as well as swing jazz.

My only misgiving about the ladder bracing is that, taken to an extreme (which is the aim of many European luthiers), overtones are just about non-existent. The result is a very dry, very loud guitar that can be harsh in the upper registers. Purists in that tradition, who are striving to emulate the sound of Django, really do not like the more open and resonant sound of x-braced instruments. (At least for gypsy style music)

I am going against that tradition with certain modifications - one of which happens to be what John suggested, which is the uncoupling of the braces and ribs. I will also be using a sideport.

I shot a vid, here is the sound file, I'll post the vid later since it is larger.

This clip was taken with a flip-phone type device so the quality is not there. However, the sustain of the guitar and the potential it has for opening up is there, baby.

https://dl.dropboxusercontent.com/u/145 ... 90_001.avi

Here's the vid.
Two things strike me about this:
1. I'm no longer stocky!! Yes, I've moved into the 'fat' category. Gotta hit the weights.
2. This is an 'A' braced guitar and tends toward the warm jazzy and not the bright jangly. But it has not even started to open up and has, I think, lots of potential.

Let me know what you think. Don't be honest :-)
https://dl.dropboxusercontent.com/u/145 ... H00890.avi

Listening to the clips, I noticed that when I compressed them to make them manageable for upload, the effect was to really accentuate the sustain, making it sound a little electric. I may try a regular microphone and post again to keep the acoustic flavor.

All good Dave I am truly impressed! Much more balanced and mellow than I would have expected -- but what do I really know?

For others -- this is the perfect example of avoiding "paralysis through analysis" if your wood working skills are there don't be afraid make the guitar you have designed in your head -- use the common sense structural guidelines (its all been done at some point by others) and you'll likely end up with an instrument that sounds like a guitar --- I think this one sounds great and actually trashes many acoustic design theories and expectation. Conventional wisdom can oft times be proven nothing more than a myth.

Way to go!

You should be very pleased...unique in every respect! :>)