#1
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Speaking of runout - are the visuals proportional to the runout?
I imagine the extent of shade difference is indicative of the degree of runout, but I don’t know.
Is that thinking on track? |
#2
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Sure, that makes sense...
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Emerald X20 Emerald X20-12 Martin D18 Martin 000-15sm |
#3
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The visual aspect of runout is the exposure of the end grain pores cut at an extreme angle and then finished - if the grain is perfectly aligned with the plane of the top, you’d see no differences on either side of the center seam. As the angle changes, even just a tiny bit, you start to expose the end grain as long, microscopic open pores, until you have rotated it a full 90d and the end grain is pointed straight up. It can be very apparent as you’re looking at the combined differences between the 2 opposing sides - one side is sloping down, the other sloping up. But its not usually a question of the spruce being cut off alignment with the grain - usually it is a natural twist in the trunk of the tree, so one end of the piece may have perfectly aligned grain, while at the other end you start to see some runout. So visually you will notice more of the shift as the degree of runout increases - and you may also notice that the runout is more noticeable at one end of the soundboard than the other -
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More than a few Santa Cruz’s, a few Sexauers, a Patterson, a Larrivee, a Cumpiano, and a Klepper!! |
#4
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Agreed with above, visually the difference is doubled because when you bookmatch, the grain goes in equally opposite directions on the two resulting pieces as they sit side by side.
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Respectfully, Mike Taylor 415 --- Epiphone Texan --- Collings D1A --- Martin 5-15 --- etc Take a sad song and make it better. |