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#1
08-23-2017, 11:15 AM
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bracing differences
Can someone explain what the differences are in in the various classical guitar top bracing types? I am thinking about a classical / crossover build, and really don't know very much about the different types....
__________________
______________ ---Tom H --- 
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#2
08-23-2017, 07:32 PM
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Excellent article by Marcus Dominelli
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#4
08-23-2017, 11:32 PM
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What a great article!!
I have owned handful of high end classical guitars 1) Ashley Sanders - cedar top lattice braced 2) Paul Sheridan - spruce top lattice braced 3) Esteve 9C/B - cedar top carbon fibre fan braced 4) Carreras - spruce top fleta style fan braced 5) Radding - spruce top kasha braced with offset sound hole When I first played a lattice braced guitar, it blew me away!! I was like holy moly. The increased volume and responsiveness in comparison to the others was night and day. The article was right that it was revolutionary.
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#5
08-24-2017, 06:56 AM
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Quote:
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#6
08-24-2017, 10:14 AM
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Quote:
__________________
Rodger Knox, PE 1917 Martin 0-28 1956 Gibson J-50 et al
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#7
08-24-2017, 10:33 AM
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Quote:
inverse correlation between sound quality, as I perceive it, and volume. My preference is still for a fan-braced, spruce-topped guitar in the style of Hermann Hauser I's smaller guitars, like his Llobet model. Last edited by Carey; 08-25-2017 at 09:55 PM.
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#8
08-24-2017, 10:46 AM
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I've built a copy of his Munich model...
Tone is a subjective quality, so everyone has to hear it for themselves.
__________________
Rodger Knox, PE 1917 Martin 0-28 1956 Gibson J-50 et al
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#9
08-24-2017, 11:32 AM
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Quote:
to high losses, so far.
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#10
08-25-2017, 10:13 AM
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I've only ever built Torres style fan braced guitars with the exception of one double top which frankly doesn't sound all that great. IT does have good projection but it is lacking in that nice romantic Spanish tone that is so hard to describe.
I think I remember reading that even Smallman is quite well aware of the risk in building for loudness where tone is concerned. In fact if he doesn't get it right then he just routs the top off and does it again. That's a lot of work and expense where as someone who builds 'normal' guitars can thin braces or top wood in the right places to fine tune the instrument. You cannot do that with double or lattice tops so you have to hope you get it right. I had a real top notch double top guitar in for some work last month and was impressed by the volume this thing had. I had to play it for a while before I could appreciate it. The tone was certainly different and definitely more towards volume. But after I had set it up and was playing it in my shop a while my wife walked in and listened for a bit and said, 'does that thing have an amplifier in it?' It was really that loud. So in that regards the dynamics, responsiveness, and volume of the guitar was incredible and don't get me wrong so was the tone, it's just that it was different from what we all have come to understand what a Spanish guitar sounds like in the last hundred years.
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#11
08-25-2017, 09:32 PM
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WRT the sound of a good double-top, I made exactly the same comment
when I heard my former teacher play his, by Toni Mueller; that it sounded like it had an amplifier on each note! I have to say that he sounds better to me on his Antonio Marin. I hear a 'halo' around the note on a DT, especially on exposed treble notes, among other things. It is a serviceable sound, though, and I can understand why concert players gravitate toward them. Here a link to a PDF by Sebastian Stenzel on various soundboard constructions that might be food for thought: http://www.stenzel-guitars.de/media/....vs.modern.pdf
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