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Now that we are back on topic, really looking forward to more pix. |
#32
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Meanwhile, back on topic, so am I I'm trying not to pester Ray too much for pictures... but the whole process is so addictive I'm struggling not to! Jon
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Kraut Italian Spruce/Ziricote OMC Eastman E10-OO |
#33
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And here's the next set
A terrifying Medieval torture device, possibly also used for the construction of lattice bracing: [/URL][/IMG] Completed lattice, about to be glued to the ziricote back: Ray's vacuum jig, in full effect, set to the background of the most obsessively neat working environment I've ever seen: This is getting good Jon
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Kraut Italian Spruce/Ziricote OMC Eastman E10-OO |
#34
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Jon,
Do all of Ray's guitars come with latticed braced backs? Or is this something that you ordered? If you did, indeed, special order it this way what was your thought process behind it?
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Bill Gennaro "Accept your lot, whatever it may be, in ultimate humbleness. Accept in humbleness what you are, not as grounds for regret but as a living challenge." |
#35
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For the most part, nearly every build that I have seen made by Ray over the last 4-5 years have lattice braced backs. I have seen some ladder braced Kraut's, but they seem to be more the exception.
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#36
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Is there any particular theory with regards to the Lattice vs. Ladder back bracing?
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#37
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I believe lattice-braced backs are trying to lighten the overall weight of the back. The lattice bracing pattern provides additional structure to allow the luthier to thin backset beyond what 3 or 4 ladder braces can support. I cannot speak to the sonic contribution that results. Like all things guitar, it is about the sum of everything.
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#38
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#39
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Hmmm very interesting. I've never considered the repercussions of back braces before haha your theories seem quite sound. I suppose it would be timbre specific too as too which back brace to utilise? Haha
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#40
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Thanks for the reply. I have played a few of Ray's guitars but I never noticed the back bracing before.
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Bill Gennaro "Accept your lot, whatever it may be, in ultimate humbleness. Accept in humbleness what you are, not as grounds for regret but as a living challenge." |
#41
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How you do the back has an influence on the sound I think. I remember one of the luthiers saying how a stiff back throws the sound envelope in a more foward and focussed way to the audience and if you do a more flexible back it's more wrapped around the player. If Ray has done the back thinner the player will still get good higher frequency feedback because they'll leak out the back better. bass is omnidirectional so the player gets that anyway but probably more focussed with that bracing pattern. After hearing Mau's recordings I'd love to have a Kraut ...haunting!
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#42
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Again, as I understand it, a "live" back does not necessarily mean that it dampens the sound. I believe that the back vibrates in a way as to reinforce the top's movement. The top moves the air inside the body, which sets the back to vibrating, which moves the air inside the body again, which sets the top to vibrating again, and so on. This is the ping-pong effect. Perhaps an actual luthier will chime in a bit here with a better explanation.
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Bill Gennaro "Accept your lot, whatever it may be, in ultimate humbleness. Accept in humbleness what you are, not as grounds for regret but as a living challenge." |
#43
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Bill Gennaro "Accept your lot, whatever it may be, in ultimate humbleness. Accept in humbleness what you are, not as grounds for regret but as a living challenge." |
#44
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Edited to add: unless he scallops the ends when he finally fits it, that would free the back to move. |
#45
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The OP mentioned that, "Ray states on his own website that the tonal world he inhabits is essentially that of Somogyi". I would be surprised to learn that Ray would build with essentially a "reflective" back. I remember playing a few of his instruments a few years back and thinking they were quite a bit like his mentor's builds in terms of the sound surrounding the player (as this is what I personally look for in a guitar). Still, what you are saying as regards to lattice bracing seems to make sense. Interesting stuff. Where are the luthiers when you need them? Edit: I think Mau can make any guitar sound clean and focused. He is a great player.
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Bill Gennaro "Accept your lot, whatever it may be, in ultimate humbleness. Accept in humbleness what you are, not as grounds for regret but as a living challenge." |