#16
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I realise it's a complicated subject and that a short answer is perhaps difficult to give, but could a luthier or knowledgeable person explain to me the difference? Obviously, I can see that the bracing is moved back towards the tail of the guitar to strengthen the lower bout when used with heavier strings. But is it as simple as that? Does the bracing fundamentally change in other ways, or basically is it just a shift backwards (or forwards!). Thanks. Links to bracing descriptions would also be good!
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Experienced guitar tech and singer/guitarist based in the midlands, England. McIlroy AJ50 Yamaha CPX-1200 Yamaha CPX-700/12 Yamaha LS16 Yamaha FG-300 Yamaha FG-580 Vox V2000-DR + electric guitars.. |
#17
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Maybe but a lot of others like the D-45 still have the older bracing so not all the high end have forward shifted. Also it is not only martin, taylor is doing the same thing on high priced guitars.
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#18
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#19
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From Martin's website:
http://www.martinguitar.com/guitars/...s/bracing.html Its all about vibrating the top freely.... Notice that Martin uses different patterns for dovetail and M&T guitars. PK |
#20
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Every operation you do in building the box of an acoustic guitar is a trade-off between structural strength and tone. Both Martin and Gibson used "forward-shifted" X-braces on their flat-tops in the 30's because this results in a more "open" or "airier" tone. After World War II, Martin moved their X-braces back 1/2 inch from the soundhole to compensate for the use of medium gauge strings. Gibson did not -- compelling them to find other, less acceptable ways of compensating for the use of heavier gauge strings.
The Larson brothers, by contrast, always set their X-braces about 2 inches behind the soundhole, resulting in a very dry, clear tone. |
#21
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The move from D to HD involves the herringbone trim , so that seems justified. But $600 more for the V seems a little much. I've not seen that the V has much more than the HD, maybe better woods?
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Fred The secret to life is enjoying the passage of time. |
#22
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A little Martin history for you:
The original style 28 dreadnaught was simply called the D-28, it had herringbone trim. This herringbone trim was sourced from Germany and became unavailable post WWII so the binding changed to the simpler black/white. The reality was that a herringbone D-28 from 1946 is structurally identical to a non herringbone 1947 D-28. These original D-28's had "forward shifted" braces and small maple bridge plates (and, of course, Brazillian Rosewood back and sides). As we went into the folk/country boom and folks began using heavier gauge strings for volume, Martin reacted by moving the bracing back (away from the soundhole) and switched to a larger, rosewood bridge plate. Also during this period, Martin switched to Indian Rosewood around 1969 because Brazil stopped selling Martin wood in log form, Brazil wanted to saw it in Brazil and Martin found that unacceptable. Martin introduced the HD-28 in the 1980's as an attempt to structurally replicate the earlier D-28's, i.e. small maple bridge plate and forward shifted braces (but Indian Rosewood back/sides). Jimmy
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#23
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[QUOTE=steveyam;2744768but could a luthier or knowledgeable person explain to me the difference? [/QUOTE]
Moving the X intersection (the stiffest area of the top) towards the sound hole will allow the bridge more freedom to rotate because the bridge is mounted above a weaker area of the top's brace structure. Pretty simple physics. |
#24
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'60's D-18 Martin
One of the finest "vintage" guitars I've ever played, doesn't have 'forward-shifted' braces, nor are they 'scalloped.' It's my 1964 D-18, complete with a Sitka top, and 1&11/16'th neck. Granted, about two years ago, I had the neck re-set, and the bridge & fingerboard replaced, but the rest of the box is an original 1964 Martin D-18 all the way. When it comes to flatpickin' or rhythm strummin'... it's one of the very best. Do I think about the braces when I play it? No. Do I think about the bracing pattern when I hear that punchy, dry tone? No. Does it make wonderfully sweet music? Yes.
As for how Martin braced or shaped the braces of their tops way back during the so called "Golden Era," the 1939 00028 Martin I have, does have tapered braces, but does not appear to have the "forward" brace pattern of this discussion. The braces that are nearest the sound hole, are actually closer to the bridge than the 2001 OM45 Martin "Golden Era" I also own. Yes, one is a '39 00028, and one is patterned after a 1933 "OM45." The 00028 is not only rich in the bass, but it sparkles in the high end as well. I'm not sure what really started the changes in the bracing patterns many years ago, all I know is, both models are very fine instruments that sing, stay in tune and bring joy to everyone that hears them. Nobody has ever asked me how the tops are braced. Not yet anyway! Keepin' the acoustic faith! 1folksinger |
#25
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However, $500 upcharge for someone to carve braces is what the buyer is paying. If a worker does only one top an hour that's a pretty good return on investment. On shifting the bracing for a $600 upcharge, supposedly to cover more future warranty work cost, are there any statistics on HD-28V vs. HD-28 and D-28's? Here's a good overview and pics of both types of bracing http://www.oldcloset.com/braces.htm
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Cranky, and living at the bottom of the barrel Last edited by pappy27; 08-31-2011 at 04:56 PM. |
#26
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Bingo! Thank you and good night.
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#27
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Surely the idea of the exercise is not to facilitate the bridge to rotate which is clearly a negative trait, but to enable the whole bridge area to vibrate more? The way you put it, it suggests that bridge rotation is the reason for the move, not an unfortunate side effect. The physics may be simple, but the answer is far from clear. Simple English.
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Experienced guitar tech and singer/guitarist based in the midlands, England. McIlroy AJ50 Yamaha CPX-1200 Yamaha CPX-700/12 Yamaha LS16 Yamaha FG-300 Yamaha FG-580 Vox V2000-DR + electric guitars.. |
#28
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D. |
#29
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Hmm... is this "forward shifted scalloped bracing" also known as "Pre-war scalloped bracing"?
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#30
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There will always be a trade off in structural integrity and a fine line of engineering the right balance between maximum tone, response, top distortion and implosion (the top folding into the sound hole). |