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Originally Posted by Alan Carruth
It's not so much that the patterns are hard to 'interpret' with asymmetric bracing; it's just harder to get symmetric patterns. I started thinking about the double-X pattern I now use during a post-tuning evaluation session with a student. I'd found the more symmetric patterns seemed to work better in producing the sound I was after, and he questioned why we were trying to put a square peg in a round hole, as it were. Since he was also one of my acoustics gurus the opinion carried a lot of weight. As it turns out the 'Martinesque' asymmetric pattern does give a more 'traditional' sound, so it's an option to keep open.
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Quote:
Originally Posted by iim7V7IM7
Thanks Alan...
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Yes, thanks for your input, and the wise reminder that the aim is the sound. The Chladni patterns -- and bracing patterns -- are valuable means, but not the end in themselves.