Quote:
Originally Posted by redir
I see it in a very similar way. What I see is a strong node right down the middle and two ladder braced sections. I would expect this guitar to have ladder braced qualities to it but that's just an educated guess. The other interesting thing, and somewhat still on the ladder design, is the big lower transverse bar like you see in classical guitar construction. That effectively cuts off the 'working' area of the top to the lower bout just like in classical guitars.
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Hi redir...et al...
You guys...the bracing on the top does NOT act like a dam, and cut off the sound vibrations from moving from one area of the guitar top to another. The sound vibrations move very freely throughout the whole area of the top, and through the braces, and whatever other structural mass is there. Now what the braces DO effect, but just in part, is how much a given area of a top is free to vibrate at it's maximum, and what sound frequencies that area of the top is best able to vibrate at/reproduce...but...that is also dependent on the actual physical acoustic response quality of the raw top plate...is it acoustically live and dynamically responsive, the size and shape of the top, the area of the top, such as above the sound hole/upper bout, around the bridge/lower bout, out at the edges etc, the stiffness of the top by itself and the ALSO in combination with the braces attached, and how the guitar maker thinned and shaped the top plate and the braces to target a tone and dynamic response.
If you go over to Peghead Nation, and listen to Andy talk about the V Class Bracing, I think he kind of lets the cat out of the bag...so to speak...about what it really does, in regards to intonation, which is that the new bracing pattern helps to cancel out inharmoic or wolf tones at the upper registers of the fingerboard. This is what he means, I think, when he talks about the tonal frequencies "fighting each other" or the "friction" that occurs between the frequencies, and how the V Class bracing seems to calm those issues down. And it does seem to do that, to a fairly effective degree, based on the sound clips available. It also dramatically changes the tonal and dynamic response character of the V Class Taylor's compared to his "Re-voiced" models of the past few years.
Like printer2 says, he just created a different bracing pattern that created a different multiband EQ pattern, that created an overarching different tonal/response character, and one of the things it did was to smooth out those interactions between the root note, and those pesky wolf tones.
It is also just a variation of a basic bracing pattern that was developed and used many years ago. Andy's version may be better, and more effective...time will tell...but it is hardly ground breaking original.
A VERY nice design, and VERY VERY well executed, but not a major innovation.
duff
Be A Player...Not A Polisher