#31
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Interesting theory regarding the reflection of sound, you may be onto something there. Hopefully someone better versed in that can contribute. Reflection of sound was not discussed at the course.
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1995 Maton EM725C - Solid 'A' Spruce Top, QLD Walnut B&S, AP5 Pickup 2018 Custom Built OM - Silver Quandong Top, Aussie Blackwood B&S, Fishman Matrix Infinity Mic Blend Pickup 2021 Faith Neptune Baritone - Solid Englemann Spruce Top, Solid Indonesian Rosewood B&S, Fishman INK3 Pickup 2022 Yamaha SLG200S Silent Guitar |
#32
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Not at all in my experience. If that was true, an Ovation would pretty much like other guitars, but they don't. My Taylors (or any other guitar) would sound very much alike, but they don't.
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-2017 Gibson J-45 Standard -2019 Gibson J-15 -2019 Gibson Les Paul Junior -2020 Gibson Les Paul Special -2019 Gibson Les Paul Studio -2021 Fender Aerodyne Special Telecaster -2022 Fender Telecaster 50s (Vintera) -1994 Fender Telecaster Deluxe 70 (Vintera) -Sire V5 5-string |
#33
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Is it the thickness of the top, or the bracing material used? Are your tops different species also? Are they braced exactly the same? No two guitars are ever built 100% the same, regardless if they come from a major factory like Martin or Taylor, or from a high end, low number per year builder. Take two Taylors of the same model, and play them back to back, and you will no doubt like one better than the other, even though they may come from the same batch of guitars, using the same batch of timber. Skilled luthiers can take the charts shown earlier, and twist them around to some degree producing certain preferred aspects of other timbers. How much of the sound differences are what you've talked yourself into hearing is there? It's a slippery slope. Sorry for derailing the original topic though!
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1995 Maton EM725C - Solid 'A' Spruce Top, QLD Walnut B&S, AP5 Pickup 2018 Custom Built OM - Silver Quandong Top, Aussie Blackwood B&S, Fishman Matrix Infinity Mic Blend Pickup 2021 Faith Neptune Baritone - Solid Englemann Spruce Top, Solid Indonesian Rosewood B&S, Fishman INK3 Pickup 2022 Yamaha SLG200S Silent Guitar |
#34
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My DN3 sounds lo-fi and woody, my 414ce sounds midrange-y and hi-fi, and that difference is not supposed to come just from the body shape.
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-2017 Gibson J-45 Standard -2019 Gibson J-15 -2019 Gibson Les Paul Junior -2020 Gibson Les Paul Special -2019 Gibson Les Paul Studio -2021 Fender Aerodyne Special Telecaster -2022 Fender Telecaster 50s (Vintera) -1994 Fender Telecaster Deluxe 70 (Vintera) -Sire V5 5-string |
#35
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I'm not trying to be pedantic here, but a dread is always going to be more bass orientated that a smaller grand auditorium, which would be exactly why you're experiencing what you are between the two guitars. It's exactly what those guitars are designed to do.
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1995 Maton EM725C - Solid 'A' Spruce Top, QLD Walnut B&S, AP5 Pickup 2018 Custom Built OM - Silver Quandong Top, Aussie Blackwood B&S, Fishman Matrix Infinity Mic Blend Pickup 2021 Faith Neptune Baritone - Solid Englemann Spruce Top, Solid Indonesian Rosewood B&S, Fishman INK3 Pickup 2022 Yamaha SLG200S Silent Guitar |
#36
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Please, read again
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-2017 Gibson J-45 Standard -2019 Gibson J-15 -2019 Gibson Les Paul Junior -2020 Gibson Les Paul Special -2019 Gibson Les Paul Studio -2021 Fender Aerodyne Special Telecaster -2022 Fender Telecaster 50s (Vintera) -1994 Fender Telecaster Deluxe 70 (Vintera) -Sire V5 5-string |
#37
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I think an "interchangeable" guitar would be a cool concept. I know it might not be the most practical thing in the world (or most tuneful), but I think a guitar where the top, back, and sides could be changed out would be cool. I don't know how it would be done, but I'm sure the pieces could all snap together somehow. Just a neat thought...
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#38
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Rosewood: stronger bass register, scooped mids, metallic trebles, much overtones content etc Mahogany: dryer sounding, woodier, more mids, more balance, less overtones... In my experience back and sides definitely matters
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#39
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Back & Sides tonewoods
I believe that the favoured tonewoods for European gut strung guitars were mostly mahogany or rosewood backs and sides through most of the 19th century, and Martin followed that tradition.
However, another US based innovator in guitar design, Gibson, chose maple out of preference although often substituted plain ol' birch, presumably when supplies of maple ran low. To this day maple is the favoured B&S tonewood for acoustic archtop guitars and mandolins. Further, the favoured tonewood on flamenco guitars is cypress. I once had a replica Gibson L-1 (flat-top) replica built by a British ex-pat living in Spain. He used European spruce (the local stuff) and cyprus for the back and sides and it was/is a very impressive combination.
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Silly Moustache, Just an old Limey acoustic guitarist, Dobrolist, mandolier and singer. I'm here to try to help and advise and I offer one to one lessons/meetings/mentoring via Zoom! |
#40
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This graph really needs some explanation of the convex and concave versus flat solid and dotted lines. I'm not sure if this intuitive, e.g. does it mean that rosewood has "scooped" mids, whereas ovangokol has emphasized mids and others are just "flat" across the indicated frequencies?
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#41
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This is a Taylor Guitars diagram. And for Taylors, I think it is accurate. But, it relates to how the woods work in the thicknesses that Taylor uses, and with the way Taylor designs and builds their guitars.
It is by no means universal. For example, I own four macassar ebony guitars, all of which have a fabulous bass extension, and have played one of Kent Hamblin's guitars with a maple back and sides that had the deepest bass of anything I've ever played that wasn't a Somogyi. There are characteristics inherent in the wood, but the most important thing is how it is utilised by the builder. Cheers, David
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#42
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I would like to see those same comparisons with actual frequency (hertz) responses shown. For instance, what frequencies are missing with walnut? More important, will you be able to notice it?
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#43
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Here you can find all the patterns they used: http://www.ovationtribute.com/Ovatio...20Bracing.html Quote:
For those who don't know Torres and his famous cardboard guitar, here there is a link: http://www.guitarsbydavidlaplante.co...d%20guitar.htm And yes, Torres made the original guitar to prove other luthiers that the material for sides and back wasn't that important. Quote:
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'04 Ovation Custom Legend 6759 (12 strings) '06 Ovation Balladeer K1111 '10 Gibson Sheryl Crow '11 Martin HD-28V '16 Yamaha FG180 50th anniversary '18 Gibson Southern Jumbo '20 Guild F-512 MPL Last edited by cuthbert; 10-23-2018 at 04:47 AM. |
#44
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play a d18 and then a d28 and tell me the b/s doesnt make a difference. If its just a little bit of difference it sure sounds different.
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#45
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Silly Moustache, Just an old Limey acoustic guitarist, Dobrolist, mandolier and singer. I'm here to try to help and advise and I offer one to one lessons/meetings/mentoring via Zoom! |