Here I got the Antes plan "AGP17" for a size 5 Tenor.
It says for a real flat top it needs a 90 degrees neckangle. That in combination with:
-a 5/16 (8mm) bridgeheight,
-a saddleextension of about 1/8" (3 mm) and
-a 3/16" (5 mm) fretboard.
My guess is that the action will be too high (strings 11 mm over the top at the bridge, and so 3 mm at the 12th fret, at least.)
So the neck needs more backangle.
Wrong guess?
Herman
Scott Antes Tenorguitar plan
Re: Scott Antes Tenorguitar plan
Almost all guitar plans are "renderings" not engineering drawings so yes "warning to all" make sure your math/geometry is sound. I agree, tip the neck a little, if it were a true Terz --- 21" scale I'd just slope the fingerboard extension like a classical guitar. Also, bridge,saddle and fingerboard dimensions are not chiseled in stone -- especial with Scott's drawing -- they are conceptual. Note a tenor guitar has only four strings.
ken cierp
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Re: Scott Antes Tenorguitar plan
Thanks Ken for confirming my thoughts.
In this specific design, with the "small" 23" scale and a 1 degree neckangle, would you raise the Upper Face Brace a hair (0.02")? Or just leave it just dead flat?
In this specific design, with the "small" 23" scale and a 1 degree neckangle, would you raise the Upper Face Brace a hair (0.02")? Or just leave it just dead flat?
Re: Scott Antes Tenorguitar plan
"upper face brace" --- I am not familiar with that term?
I think as long as you tip the neck a bit getting the headstock/nut lower then the sound board plane you'll be able to make action adjustments with the bridge and/or saddle heights.
A bit of contour on the outer section of the main braces is a good idea to prevent a concave appearence of the sound board -- this also is helpful in preventing cracks. Not because it makes the top stronger (a myth) but beacuse it adds a little surface area to the plate allowing it to shrink before splitting.
I think as long as you tip the neck a bit getting the headstock/nut lower then the sound board plane you'll be able to make action adjustments with the bridge and/or saddle heights.
A bit of contour on the outer section of the main braces is a good idea to prevent a concave appearence of the sound board -- this also is helpful in preventing cracks. Not because it makes the top stronger (a myth) but beacuse it adds a little surface area to the plate allowing it to shrink before splitting.
ken cierp
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Re: Scott Antes Tenorguitar plan
upper face brace = cross brace under the fingerboard.
Ok Ken, I'll add a tiny bit of contour on the braces and I'll guess that with do the trick.
So curious about the outcome! Always a challenge to make an instrument the "customer" has in mind. In this case a tenor that sounds more like a banjo than a guitar. I already changed the ebony fingerboard to Wengé, that in my expirience is more "ringy" . We'll see.
Ok Ken, I'll add a tiny bit of contour on the braces and I'll guess that with do the trick.
So curious about the outcome! Always a challenge to make an instrument the "customer" has in mind. In this case a tenor that sounds more like a banjo than a guitar. I already changed the ebony fingerboard to Wengé, that in my expirience is more "ringy" . We'll see.
Re: Scott Antes Tenorguitar plan
Years ago when I sold at Art Shows I offerred an "all wood banjo" -- sound board and all.
ken cierp
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Re: Scott Antes Tenorguitar plan
And? Did it deliver the promise?