These photos of the top bracing and back are interesting. Back when I had a bashkin more than 10 years ago, i believe the top bracing below the x brace was fan bracing but your top bracing there is the traditional arrangement. Has michael change the top bracing for all his guirars or is this an optional bracing depending on certain voicings desired by the customer?
I always thought the back bracing had the x brace extending from top to bottom of the back but the x brace on your back is only in the centre portion with ladder bracing. Is that also another recent change?
Quote:
Originally Posted by chippygreen
A few more pics...
Bracing the top
The End Graft design isn't compatible with an end pin, so a block is being installed on the lower bout to support a pickup jack if I opt to install one.
Preparing the Florentine Cutaway
One of the themes I wanted to explore in this build was the tension between balance and asymmetry. From the natural lack of symmetry in the wood figuring, the non-symmetric headstock, fan fret, design of the rosette, end graft and back inlay (which is now being moved to the back of the headstock), and of course, the cutaway, there is very little true visual symmetry in the instrument as designed.
Yet at the same time, I wanted it to be well-balanced in terms of weight and feel, ornamental restraint, palette, and of course sound. Michael produces instruments with excellent intonation and tonal balance, both attributes further enhanced by his fan fret design.
And ready for the maker's mark
And now fully enclosed
 |