Quote:
Originally Posted by StillStephen
I find this very interesting. I would have assumed that for a given size/shape, that one would strive for repeatability in the placement and then "tune" by the bracing itself. So how do you decide the pattern? Is it based on the tapping results of the soundboard or some other intuitive factor? Do you know if other luthiers follow this? Thanks.
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I am not into repeatability, I am into incremental improvement. Repeatability is essential for the factory approach, I seek mastery and that is the other end of the spectrum.
I choose to believe that my understanding of the functional performance of a guitar educates my eye by appearing to be beautiful (form follows function), and that I can manipulate and improve a guitars performance by increasing its subjective aesthetics (function follows form). I gave myself over to this approach to mastery many years ago, and have been harvesting the fruit ever since.
I have never heard of another guitar luthier approaching the work from the same angle as intentionally as I do, but I believe many handbuilders incorporate this kind of "tool", whether they know it or not. My first conscious move in this direction was when I read about Violin luthier Guarneri del Gesu's use of paper templates. He reportedly said he used paper because they wore out after several uses requiring him to to recreate the templates on a regular basis and therefore rethink his designs. I consider him, or his myth, to be my ongoing inspiration.