Those are small slits of spruce that are .5mm thick. They're typically glued on first and then the bar has small recesses that the slits fit into. They prevent cracks and reinforce that area while still keeping the whole area flexible and responsive.senunkan wrote: ↑Tue Aug 08, 2017 1:16 amLooks great, Jim!
All the while I like both open traverse brace design (E.g. Elliot, Romanillos), both in terms of looks and sound.
I find that the sound is open right from the start.
Just a question, I see Elliot added a short "brace / pad" below the 2 traverse brace.
For those side braces and the outer fan brace that crosses the "brace / pad", is it shave away totally?
Or is there some kind of lap joints?
As both the fan brace and side brace are not really tall at the point of crossover.
Chris Sobel wrote: ↑Tue Aug 08, 2017 6:00 am
Those are small slits of spruce that are .5mm thick. They're typically glued on first and then the bar has small recesses that the slits fit into. They prevent cracks and reinforce that area while still keeping the whole area flexible and responsive.
Thanks Chris and Jim for the explanation.
Chris, I have tried a lot of various bracing designs, more than I should have! Sometimes if one design doesn't work out so well I'll re-top the guitar. But I learn a little something from them all (I hope). After trying many modern patterns, I'm finding I'm drawn to the more traditional instruments in the long run. This guitar is not quite as loud as some of the other patterns I've used, but I really like the tonal response of this instrument. I have a student building a sister guitar to this one and am anxious to see how it comes out. Also, part of the decision for me to build this pattern was based on my past experience at the GAL listening sessions at their convention. I would try to take notes on the instruments in the sessions I liked and discovered that I liked most of the instruments made in this style. So after Jeff published his article it seemed the perfect time.