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Old 12-14-2020, 07:23 AM
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iim7V7IM7 iim7V7IM7 is offline
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Join Date: Feb 2012
Location: An Exit Off the Turnpike in New Jersey
Posts: 4,767

Originally Posted by mhw48 View Post
The top bracing looks like an interesting hybrid of "X" and ladder bracing. What's Mark's thinking behind that choice, any idea?
To be honest, I do not know the full method behind the madness. I can ask him. Mark has not always used this bracing pattern. Below I am showing a guitar by Mark closer to 20 years ago (left) and a guitar that he made for me about 5 years ago.

With Mark's top bracing pattern at a high level, I see some similarities to one of Jean Larivee's top bracing patterns. I also see influence from classical guitar building in his sound hole reinforcement approach and stiffening of his rim linings. I also see with many builders who utilize Chladni patterns to interpret their tops a trend to use of symmetrical bracing patterns.

What I can say is lay people we see a "pattern" and think that is "it", when in fact many subtle factors in the choice of bracing material, the shaping of the braces, the variable top thickness, the dish and rim radius all contribute to how the top as a "system" sounds.
A bunch of nice archtops, flattops, a gypsy & nylon strings…
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