Neal
Senior Member
The Gibsons referenced above.
The L-0:
The L-00:
L-0 bracing:
L-00 bracing:
The L-0:
The L-00:
L-0 bracing:
L-00 bracing:
Scalloped top bracing
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Scalloping has definitely come a long way over the decades. When compared with a rectangular (or straight) brace, the height and bevel of scalloped braces are definitely pronounced, certainly affecting mass. When approached in conjunction with instrumentation (or really, really good ears) scalloping is actually a fine adjustment technique for controlling the value of multiple natural frequencies occurring along the length of a brace, relative to their nodal position on the soundboard. Done properly, you could think of scalloping as "fine tuning." The goal of scalloping is to improve the potential output of the soundboard, not to compete with another bracing design. Whether that goal is realized, or not, is in the ears of the beholder.
Tom O
Member
video on scalloping and tap testing. Go to about 3.48 to the scalloping section.
Robbie learned nylon string guitar construction during his time in Brazil. He learned advance steel string guitar construction from one of my teachers, Kent Carlos Everett. Robbie is a good presenter, and developed video presenting skills. He filmed a couple of instructional videos years ago where Kent Everett revealed his approaches to the world, available via DVD. You'll hear him make a passing reference his (and my) mentor at 5:22.
A lot of good information in 8:36! I find it interesting that he scallops the braces, but doesn't taper them (where the brace, when looked at from one of the ends tapers to a point, so that it ends up looking triangular). Also, he uses chisels to do the shaving with; I've only seen it done with finger planes.
Understood. Robbie learned from Kent Everett, and that is how Everett shapes and scallops (actually, a lot of luthiers do that).
Regarding the tools, chisels can be a quick way to get to a desired dimension, but typically require a bit more skill to learn not to overshoot the goal (or gouge the soundboard). Ages ago I watched a builder at Martin carve soundboard braces down with a chisel with lightning speed and incredible accuracy. It was impressive and really inspired me to step up my game. From a handful of Japanese woodworkers and instrument makers I learned the importance of having stupidly sharp tools (attempting to carve a brace with a dull chisel is a great way to destroy a soundboard). Some builders (like you see in the video) roughly carve until satisfied and just stop there, and they are happy with that. I'm way more fussy, and reach for the finger planes to fine tune those last shavings.
Regarding tapering and brace shape, there were several studies done a while back that demonstrated (among other things) the so-called "parabolic" (aka tapered) braces were weaker along a given path than their rectangular cousins, when comparing two braces of equal width, length and height. *If* the purpose of the tapering is solely to reduce weight then, by merely shortening the height of the fully rectangular brace, that same goal may be realized while maintaining maximum stiffness. Taking it further... scalloping maximizes the height of the brace in determined locations along its length at points where strength is most needed. The remaining sections of brace can then be significantly lowered in height, the goal again being to maintain maximum stiffness with minimum weight. This is one approach to achieve a so-called "responsive" top.
We know that whatever we do to a soundboard affects the overall sound of the completed guitar. And there is no such thing as the one "right" way to brace a guitar, although there are many "wrong" ways to do it. You can steer the overall output of a given soundboard by learning the nuances of bracing materials, patterns, dimensions, frequencies, nodes, etc. For example, the quintessential and easily identifiable "Guild sound" is a direct result of a particular combination of these factors. By using a wider, shorter, rectangular brace a completely different (as in, definitely non-Guild) sound can be obtained, one that is relatively popular with a certain crowd. That is what you see in the video.
When I rebuild these various Guild 12 strings, I use a combination of approaches. I respect the overall Guild sound by maintaining the classic bracing pattern (I alter the width of the X, splaying the legs a bit wider for increased bass response). In contrast to what you see in Robbie's video, I use a slightly narrower and (to maintain stiffness) taller brace than originally shipped with the Guilds, but scallop them dramatically. I *do* prefer to taper the tops of the scallops, along with the finger braces. (Through a lot of experimentation) the soundboard ends up with enough wood to produce the warmth that is expected from a Guild, but requires less string energy to set it in motion, optimizing it for lighter gauge strings. This would not necessarily be an ideal approach for a Bluegrass lead player or a heavy rhythm strummer (or scrubber). Such a player could overdrive this type of top, until new skills were adopted.
gscratch
Junior Member
Many years ago (at least forty) a luthier friend 'shaved the braces' on my 1973 D25 - perhaps he was 'scolloping' them, I don't know as I didn't have 'before' and 'after' pictures. I could feel shavings and rough places on the braces if I put my hand in and touched them. I thought it improved the sound, but it also lifted the top enough that he had to move the bridge. A few years later, when I had the instrument was worked on by a tech in Waverly, he could tell from the sound that something had been done
davismanLV
Venerated Member
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Neal
Senior Member
Thanks, Chaz, but the 14-fret L-00 puts it to shame when flat picked.
West R Lee
Venerated Member
Fair enough, Neal, but I do love that look!
I'm guessing to hold it in place until the glue dries, and it was just never removed.
West R Lee
Venerated Member
wileypickett
Enlightened Member
Many guitars have a cloth reinforcement where the X braces cross -- pretty common.