I couldn’t wait for the guitar to settle in….had to make a video showing off the sound….which is, well let me reflect…
I was worried that the unconventional/experimental sound board design might just kill the tone, or collapse altogether, due to the weird bracing pattern. It is a little brittle in the top end, but I am surprised at the power of the bass. The mids are a little scooped out but I am happy that it has a fairly full sound.
The guitar is very loud. I thought the relatively high bridge might kill the volume but it seems robust, compared to other guitars I own.
The action is very low, without any fret buzz and the ‘C’ profile neck suits me, though I can carve any shape neck for any customer who wants something different. This is only a 20 fret guitar. The 14th fret lies at the neck/body joint, so there is plenty of room to manouvre.
Final reflections on the build.
This started out as an experiment in sound board design and a protest against bindings. I caved on the bindings, and am glad I did. Even if the ‘technical’ reasons for them seem dubious to me, I have to admit, simple bindings in a contrasting wood do ‘frame’ the piece well. I chose a back angle on the neck, to allow for a smooth run onto the arched sound board, but didn’t plan well enough and ended up having to raise the finger board away from the top, because flattening the top right up to the sound hole would have destroyed the lines of the guitar, and made the sound hole look funny…..So thats why most arch tops have ‘F’ holes!
For me though, the most important thing has been to prove that you don’t need “at least 16 growth rings per inch in the sound board wood”, to make an instrument with a good resonant tone. This sound board is a piece of spalted maple that it was hard to define any growth rings in apart form on the end grain. Have a listen for yourselves. All thoughts and comments welcome.