Randolph Rhett wrote:Those tone bars look tall to me, but only you will know when you are done.
I was starting to think the same thing when I saw these photos. It's funny how perspective can change like that.
Randolph Rhett wrote:For the scientific approach you can use Trevor Gore's method. I don't know it at all, but obviously many feel it is excellent.
I think I need to use the 100-year-old approach.
Randolph Rhett wrote:The 100 year old approach is to hold the guitar about an inch or so in from the perimeter at many locations, hold the guitar up to your ear, and rap on it with your knuckles. Does it sound musical? Do you hear musical notes or the plink of wood? Do you hear low notes that would be at the bottom of your ability to hum, or just higher notes? If you hear deep drum like notes mixed with some sweeter high notes stop. If not, try shaving the tone bars, then maybe the lower legs of the x. Flex the board cross grain and long grain from the soundhole to the tail. Rule of thumb is that they should be roughly the same. No obvious bias towards one or the other. You can't really affect long grain at this point, but shaving down the legs of the x can help balance the cross grain. Don't just hold it in one place, move your hand around the perimeter checking.
Obviously there is nothing scientific about this approach. Everybody develops a slightly different method and ear. In the end, after a dozen or three dozen or ten dozen guitars you will develop an intuitive sense on how to voice the top. In the mean while, if the top sounds like a musical instrument when you rap it with your knuckles it will probably make a better guitar than almost any factory guitar. Just the fact that you listened to it, checked to hear it sounded musical and carved the braces trying to get you there, will place it head and shoulders above a factory guitar that is not voiced at all. Imagine if you had just glued the bracing down and closed up the box without even trying to voice it! Most guitars sold are built that way.
I have started holding it and tapping. I can hear many tones from low drums to high notes. This cedar has produced pleasant and musical sounds even before I resawed it. It rings and rings and hasn't changed much throughout the bracing process. My viola playing daughter with great pitch sense says she can hear 6 distinct notes when I tap it. And that's was from several feet away. Is that unusual? The tones change depending on where I hold it but it always sounds nice to me. I have not tried flexing it and will tomorrow morning.
Thanks for the input, this is very helpful and encouraging.
-Eric