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Old 09-20-2019, 12:46 PM
vindibona1 vindibona1 is offline
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Default Another way to describe the effect of Adi bracing

Every now and then a thread pops up inquiring what and Adirondak top or Adirondak bracing does. One answer was "It provides more 'headroom' when strummed hard' "...

... Another way to look at that answer is that it has built-in "compression".

I don't know why I didn't think of it that way. But I recently purchased a DI/EQ which had a compression feature. I found it to be quite useful in keeping my exuberant strumming under control . But as I recognized the benefit and effect of what the compressor does, I realized that is how I would describe the sounds of my Taylor 814ceDLX with Adi bracking vs the standard 814ce with Sitka spruce bracing. The "dryness" that I perceived wasn't dryness, but compression.

Also as I think about it, this would also tie into the discussion on another thread of how resonance isn't entirely related to sustain. I'll leave that alone on this thread but thought it worth mentioning.
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Old 09-20-2019, 01:01 PM
stormin1155 stormin1155 is offline
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That's an interesting way to think about it. I don't see compression and headroom as the same thing though... Headroom is the ability to get louder when played harder, rather than farting out and distorting. Compression is taming the peaks so that it doesn't fart out or distort, but it may not get any louder. Does that make sense?
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Old 09-20-2019, 01:02 PM
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DenverSteve DenverSteve is offline
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I just consider it (the brace material) as part of the whole. There's far too many elements of the entire instrument contributing a little here and a little there - for me to focus on one of the parts.
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Old 09-20-2019, 01:13 PM
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rick-slo rick-slo is offline
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"Adirondack" has a higher stiffness to density ratio than spruce and can be made thinner and lighter (torrified more so).

All else equal (it never is) it should provide a wider dynamic range to the guitar (rather the opposite of compressed).
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Last edited by rick-slo; 09-20-2019 at 07:57 PM.
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Old 09-20-2019, 01:40 PM
zoopeda zoopeda is offline
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No way you'll hear a difference vs Sitka. Multiple luthiers have pointed out to me that Adirondack is different from Sitka in that it is stiffer ACROSS the grain and not ALONG the grain. Along the grain they are equal, which is why Martin likely used Sitka braces on prewar instruments. Also, Adirondack is NOT lighter, per these luthiers as well as the wood database (avg same weight as Sitka). On a wider guitar TOP, red spruce will be stiffer on avg but have the same avg weight. However, on a long brace, stiffness and weight are identical along the grain. Unless you swap the top to red spruce as well, there's no way you'll hear a difference.
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Old 09-20-2019, 02:06 PM
mcduffnw mcduffnw is offline
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Quote:
Originally Posted by DenverSteve View Post
I just consider it (the brace material) as part of the whole. There's far too many elements of the entire instrument contributing a little here and a little there - for me to focus on one of the parts.

Exactly...you don't know for sure if it is the braces, or the top or the combination of the two, or even the further combination of the entire soundbox...body size, shape, geometry, top/top braces, sides, back/back braces and how all of them work together.

The vintage Martin's of the 30's and 40's...Gibson's too, for that matter...noted for their dry, bell like clear tones, used Sitka braces under the Adi or Sitka tops.

There is no way to tell what is really doing what in there.

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Old 09-20-2019, 07:55 PM
vindibona1 vindibona1 is offline
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Quote:
Originally Posted by stormin1155 View Post
That's an interesting way to think about it. I don't see compression and headroom as the same thing though... Headroom is the ability to get louder when played harder, rather than farting out and distorting. Compression is taming the peaks so that it doesn't fart out or distort, but it may not get any louder. Does that make sense?
Yes. Headroom is the ability to get louder. Compression is taming the peaks. The reason I bring this up and why it is only occurring to me is that the direct comparison is the 814ce vs the 814ceDLX. Structurally the only difference is in the bracing. It is one of the few models that have this type of variants that can be compared directly. My DLX tames the peaks as I know that when I try to get the same boom that can be gotten from a 814ce, while it gets louder it neither farts out stays pretty even within its tonal balance, much differently than the regular ce model. I couldn't put my finger on the effect, and again didn't recognize it until I started using a compressor with other guitars while plugged in...

... Or maybe what is contributing to what I'm now recognizing is that I am starting to prefer hybrid 12-56 (Elixirs) on the DLX, the only guitar in my arsenal that I feel benefits from the heavier lower strings. Just trying to sort it out.
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