This study was made in Sweden and I can send a PDF copy of the study to the members who are interested in(just PM me with your email address included): Function, Construction and Quality of the Guitar by Erik V, Jansson. The question is if the sound is only scientifically better, or if it is also more beautiful with this kind of bridge. We are used to a certain timber and even if I for example personally recognize that a lattice braced guitar has it's very strong points generally I am not so amazed of the sound, at least in the players positionSteven D'Antonio wrote:Also keep in mind the single largest cross grain brace on the guitar top... the bridge. There was a study done, unfortunately I don;t have a copy with me, where they found the most effective bridge for producing a good sound was one with just the center portion and no wings. It wasn't in this particular set of papers, but it was done by one of the members of this university group http://www.speech.kth.se/music/acviguit4/
Alan,Almost twenty years ago I sat on an acoustics panel discussion with Greg Byers, among others. He put forth an argument that is well known in some circles, although I can't remember who originated the idea. Basically it says that you can reduce the set of design features to a point on a plane; a seven-fan strutted top represents a certain point, while a nine-fan strut top will be in a slightly different location, Bouchet braces are further over and lattice braces someplace else. Given this distribution you can represent the fitness of the design for it's purpose as a height above the plane. This yields a topographical map, with hills and valleys of different designs that work more or less well.
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