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#46
04-20-2016, 12:11 PM
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What Louie said. Wood is not something that's made to certain specifications, like steel or plastic. It varies a lot, not only from one species to another, but from one piece to another of the same species, and even within pieces. I have two strips of spruce cut from the same board, about 3" apart, and one is more than twice as stiff along the grain as the other. Good guitar makers, like good chefs, don't hew precisely to a recipe, but adjust their ingredients constantly to get the right 'flavor'. It's the only way to achieve a consistent taste, or sound.
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#47
04-25-2016, 09:32 AM
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Bruce, very good info. That bong, whomp, and phloofy sounds are very familiar, but when to stop.
So when you glue on the X brace and shape it, do I understand correctly that you take material off until you feel the approach of the phloofy sound? Then glue the tone bars and do the same? As I think of it, I can see that stages approach making a lot more sense than gluing all the braces on then shaping. I've kept my brace thickness in the .280" range. My OM tops range from .98 to .101. My dread tops fall between .100 and .105. This is with Sitka and Lutz. I go with a 28' radius down to the bridge, then flat from there. My backs are between .065" to .075.
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#48
04-25-2016, 01:55 PM
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Approaching phloofy is not the same as getting near it. Once you have identified a plates "POPh", the game is to approach it without actually hitting it again. The degree of Phloof relative to its' "Lumberness" will vary depending on personal taste and the target itself. Having a target in mind is extremely important IMO, one MUST be aiming at something if there is to be a point to the exercise. Otherwise there is no hunt, you are lost in the woods. Poor soul!
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#50
04-25-2016, 08:32 PM
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Quote:
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#51
04-26-2016, 05:36 AM
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born to pfloof !
__________________
Taylor 815C '59 Gibson LG2 Washburn J4 jazz box, ebony tailpiece Gold Tone open back banjo Anon. mountain dulcimer Creaky old Framus 5/1 50 About 1/2 of Guitar One completed; currently intimidating me on account of the neck geometry. Stacks of mahogany, spruce, maritime rosewood, western red cedar Expensive sawdust
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