Some of the best work I do is with the bracing. I think it's the part of the building process in which my skills have made the greatest improvements. And, it bugs me, because all that work is hidden. Now, in the completed guitar you can peer through the hole and see with the naked eye the back bracing -- at least, the two back braces nearest the neck. But that's not a big deal. The most important bracing (most important in regards to making wood sing) is under the soundboard. A dental mirror and a flashlight can render that visible -- but who, other than a dentist, has dental tools?
Well, here 'tis. I use a 90 degree X-brace, but mine is de-coupled. That is, rather than joining the two braces, my bass-side brace arches over, and the treble side arches under. Then I laminate a smallish brace atop the treble side member so that it traverses the bass member both under and over. I figure I might snag some extra mid and upper partials by having the two members operate independently rather than in lockstep. Otherwise, it's a Martin bracing pattern: two lower face braces, two finger braces per side (all but the fingers are scalloped), and a maple bridge plate. The only maple I had was leftover european flame maple, but that figure will be locked in the box.
I'll match the bold herringbone rosette with bold herringbone purfling around the edges. That's maple soundhole binding with a very mild flame.
I blogged the back before. Here's another view. The two lower rungs of the ladder are this super stiff, perfectly quartered western red cedar with beautiful cross-grain silking. It was left over from the cedar the builders used on our front porch when they built this house in 2003.
Waste not, want not.
1 comment:
One day, you are going to have to explain why all that bracing stuff matters.
Boggles my mind.
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