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Bracing
We typically hear the top is where most of the sound comes from and is the largest influencer in the sound from any given guitar. Next in line is the back and sides which sometimes are said to be the seasoning for the sound.
Here is another way to look at this: Yes, I agree the soundboard is the strongest influencer but the second is the top bracing, not the back and sides. Now, I realize the top in the first statement is usually thought of as both the soundboard and the bracing but, I'm saying that even if you were to consider the bracing separately it would have more influence on the sound than the back and sides. So braces are important. I shake my head when I hear a builder say, "Braces are an unfortunate necessity to keep the guitar top from caving in". Braces are very much more than that. They are one of the chief ways that a builder can manipulate the sound characteristics and response of a guitar and hopefully optimize the materials and goals of an instrument. The first guitar I made, like many builders, was right out of the Cumpiano and Natelson book; Guitarmaking Tradition and Technology. Chapter 7 called "Soundboard Bracing" had a section called "Procedure: Preparing The Brace Blanks". I read it and it made sense to me and I followed along ever since. I just thought that was how it was done and incorporated that into how I always did it. I was disappointed to find my assumption of this being common practice was wrong. So what is this procedure? It's really all about riven wood or splitting out your blanks so the braces are perfectly quartered in one plain and have absolutely no run out in the other. A perfectly straight grained brace is easier to carve, is more homogenous in it's stiffness along it's length, it's less likely to crack, and most importantly, it is up to 30% stiffer than a poorly prepared brace from the same board. So that means, you can make that brace a lot lighter to do the same job, which means what little resource of power you have from the strings isn't wasted on throwing around weight you don't need. This makes for a more responsive guitar in both response quickness and volume. It's not too hard to split out the wood but. you do have to have good straight grained wood to start with. That's not too much to ask considering how much money and time we spend trying to pick out the less important back and side wood set. I use a bamboo splitting froe which is typically used for hand made bamboo fly rods (another application that obviously needs to be strong). Lets' take a historical view of this. Here is a picture of the most famous piece of riven wood in the world. It is on display in the Smithsonian Museum: Seems appropriate to show this because today is an election day and this was a campaign prop from the 1800's. Abraham Lincoln's campaign manager went back to Illinois to get a piece of one of the split fence rails that Abraham rived to use in his campaign. You see saw mills were spreading across the country and like any new technology there were pluses and minuses. The easiest way to make a board used to be to split it out of a log. Now saw mills could cut them much faster. The split boards were of much better quality, they stayed straight, were stronger, and lasted longer, but, were more work. These were the exact qualities Abraham Lincoln wanted to emulate in his campaign. It's still valued today, as celebrated on the back of a 2009 penny: Sawmills, table saws, and bandsaws were a great advancement in technology and manufacture and saws are often used to make brace blanks. When asked why something as important as braces are being sawn instead of split the answer usually is "Saws are faster and there is a lot less waste." You have to ask yourself, do you want your braces made out of waste wood? I started bracing the top today with riven wood: Thanks for following along! Mark
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Mark Hatcher www.hatcherguitars.com “"A conclusion is the place where you got tired of thinking". Steven Wright Last edited by Mark Hatcher; 11-06-2018 at 08:16 PM. |
#32
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Very Interesting Mark!!!
Cool and useful info about super straight and hand split braces!
Most interesting indeed! Always something to learn in the Custom Shop!!! Thanks Mark Paul
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3 John Kinnaird SS 12c CUSTOMS: Big Maple/Cedar Dread Jumbo Spanish Cedar/WRC Jumbo OLD Brazilian RW/WRC R.T 2 12c sinker RW/Claro 96 422ce bought new! 96 LKSM 12 552ce 12x12 J. Stepick Bari Weissy WRC/Walnut More |
#33
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Great post Mark. Your braces are brilliant in design and execution, and I love the use of the mini-froe.
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My YouTube Page: http://www.youtube.com/user/ukejon 2014 Pono N30 DC EIR/Spruce crossover 2009 Pono koa parlor (NAMM prototype) 2018 Maton EBG808TEC 2014 Hatcher Greta 13 fret cutaway in EIR/cedar 2017 Hatcher Josie fan fret mahogany 1973 Sigma GCR7 (OM model) rosewood and spruce 2014 Rainsong OM1000N2 ....and about 5 really nice tenor ukuleles at any given moment |
#34
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Thanks ukejon, That was a tough post to put together.
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Mark Hatcher www.hatcherguitars.com “"A conclusion is the place where you got tired of thinking". Steven Wright |
#35
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I did a 'tutorial' on how to make a guitar out of a fence board and a 2"x4" to poo poo the idea that a person needed $500 in wood to build a guitar. I split the wood trying to get pieces long enough to use and with minimal runout for braces. It was educational as the board has some areas where the grain looked sort of straight. Needless to say there was a lot of waste wood generated in the project. Good wood defiantly makes building easier and tends to make a better sounding guitar.
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Fred |
#36
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Neat stuff about the braces - and Abe. I love that kind of thing.
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#37
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But I was spoiled. I had a lumberyard locally that didn't use the Internet, and didn't even take credit cards! I could go through racks for hours and pick winners. And the prices were right, as the wood was unsorted. And I lugged them around like old luggage for YEARS, because I know they'd be guitars one day! You wouldn't believe what I bought for ridiculously cheap prices then, that are astronomical today. If I ever get through the entire stash it'd be a miracle - and I have NOWHERE near the wood these guys have! Such is the sickness of a wood nut. |
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Fred |
#39
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Thanks, Mark. Fascinating stuff! The learning never stops here in the Custom shop. I had never even heard of the word 'riven' before. This 00 build you have going is special.
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Scott McNeill 000 cutaway, hog/spruce Martin 00-18 custom shop cutaway Martin 000-Jr-10E cutaway Minerva 0 12 fret Edwinson Falcon 0 cutaway, sapele/spruce Edwinson Zephyr 00 cutaway, koa/spruce Taylor 612-C Maple Grand Concert (1997) Taylor 612-CE Maple Grand Concert (1999) |
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You’re welcome chasapple, the steel string guitar is certainly a child of fascinating and changing times!
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Mark Hatcher www.hatcherguitars.com “"A conclusion is the place where you got tired of thinking". Steven Wright |
#42
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Onto the Back
Dipping into my oldest woods I have selected a set of Eastern Black Walnut that was still in an old sawmill that closed in 1850. A 168yr old set to go with the 173yr old Redwood top!
Here I am joining the back: On goes the back center graft: I believe these two are a perfect pairing: They will be trimmed with Black Ebony. The old kind that doesn't need dye to be black: Thanks for viewing! Mark
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Mark Hatcher www.hatcherguitars.com “"A conclusion is the place where you got tired of thinking". Steven Wright |
#43
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Yikes! That is such a sublimely beautiful combination of ancient woods. So **** tempting!
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My YouTube Page: http://www.youtube.com/user/ukejon 2014 Pono N30 DC EIR/Spruce crossover 2009 Pono koa parlor (NAMM prototype) 2018 Maton EBG808TEC 2014 Hatcher Greta 13 fret cutaway in EIR/cedar 2017 Hatcher Josie fan fret mahogany 1973 Sigma GCR7 (OM model) rosewood and spruce 2014 Rainsong OM1000N2 ....and about 5 really nice tenor ukuleles at any given moment |
#44
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I would have to agree as to those being the perfect pairing, my word are they pretty!
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PS. I love guitars! |
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Thanks for commenting! Mark
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Mark Hatcher www.hatcherguitars.com “"A conclusion is the place where you got tired of thinking". Steven Wright |