Australian/New Zealand Luthiers Forum

It seems to indicate that for a given bridge mass, the X braced guitar will have the LEAST frequency drop after gluing on the bridge. Yes, that's right. Typical X-bracing already has so much cross-grain stiffness (with the bridge plate as well) that the bridge contributes more to the mass than to t...

jeffhigh wrote:Is that faint line in the centre of the bar the +-1 standard deviation?

Yep, you got it! (Might need the good, clean, glasses for that one!). Fortunately, I can still see it without visual aids. There are similar SD lines on some of the other charts, too.

Nick wrote:Trevor, did you still keep a 25" or longer scale...

I used 24.9" (632mm) on a Gibson 185-ish body shape.

kiwigeo wrote:And DONT f&^%k up the compensation at the saddle!!!

Nut and saddle compensation is something to think about on a 12 string. Makes a big difference.

12 string, 12 frets - very cool...

http://www.goreguitars.com.au/main/page ... jects.html (bottom of the page).

It seems to read OK to me (but then it would, I suppose!) Perhaps the thing to look at is the length of the line showing the standard deviation (just one standard deviation, + and - on the chart). For the classical guitars, 3 SD's out, which will cover most (~99.7%) of the population, some will have...

Bootle has red cedar ranging between 7.9GPa and 9.4GPa for Young's modulus. John has measured 5.6GPa. So, much as I said, it depends on the wood in your hands. I've used King Billy with a YM of ~6.0GPa and at 7mm high falcates it works fine for me for 170Hz guitars. If I use spruce of ~10GPa I find ...

Never used it, but Bootle gives it a reasonable rating. Depends very much on the piece in your hands. If red cedar gets stiffer with laminating, so does spruce!

Hi Luke, A 20Hz drop for adding the bridge might be a bit too much to expect unless you have quite a heavy bridge. However, a bridge and some side mass should get you there. If you find that you only drop a few Hz when you add the bridge, you could always re-direct to 95, 180, 226 (224 should be goo...

"To celebrate the unprecedented industry milestone of 1,000,000 words written, Gore Guitars, has created a spectacular commemorative edition instrument. The SheD-100 Dulux combines rare skip woods and no inlays in a breathtaking example of the guitar builder’s science. Quite simply, this masterpiece...

woodrat wrote:I wounder where I learned to spill?

NZ?

(Sorry guys, couldn't help myself)

whats the most bizzare wood someone has used for a soundboard? Try looking here: http://www.anzlf.com/viewforum.php?f=25 There's a great variety of woods being used; how sustainable is another issue. If you're looking for sustainable, it probably has to be plantation wood or re-growth in forests fe...

Spruce; but a question better suited to the main forum I think, where you might attract some more discussion.

There's nothing in "the book" about sound ports. As far as Gerard and I are concerned, we've yet to hear a guitar that sounds better out front for having one. All the ones we've heard have lacked projection compared to having the port sealed. The player occasionally hears more with a port, but our v...

BTW, if you're using oxalic acid, wear gloves, or you might be in for an unscheduled acid peel.

So Not really neutralizing the Oxalic with the vinegar just redisolving it in a weaker solution to enable it to be wiped off? Yes, but you don't necessarily have to let the oxalic acid dry. Put the oxalic on, wait until the colour is what you want, then get it off quickly. If you know your water is...

Lando, As you can see, asking the right question is harder than finding the right answer. Anyway, it's never too early to start reading, as there is a lot more out there than many people realise, as not too many guitar makers roam the archives of the Acoustical Society of America, Acustica, Applied ...

Hi Bruce....Thanks for your experience with oxalic acid....I think vinegar would be the neutralising agent to use though.... Vinegar is also an acid, and hence will not neutralise oxalic acid. You would need to use an alkali. If you are looking for something to neutralize an acid, use baking soda. ...

Tod, this:

Tod Gilding wrote: Attachments:
4freq spec.jpg

(i.e. your last chart posted)
looks like no signal to me. Check your connections and that you have the sound input turned up. You might need to apply microphone boost, too (via the loudspeaker icon in the tray, bottom right of your screen)

The ~0.5mm was a "guestimate" based on grit particle size. A wide-belt sander in stock removal mode could be using abrasives of 40 (coarse) to 60 (typ.) to 80 (also fairly typ.). The grit average diameters are ~0.45mm, ~0.27mm and ~0.2mm. Add a bit of dispersion (less with higher quality abrasives) ...

John, if you have found a method/materials that work for you, stick with it. That's basically what I did. There's no harm in using more CF if the mode frequencies are in the right places. You mentioned that you always seem to come out on the stiff side. I'm still not sure why that always happens, bu...

I've had some more enquiries about the specification of the carbon fibre that I use and after a lengthy search I managed to get the following information from the Toray website. I can't get a link to work directly to the correct page, however this: http://www.torayca.com/en/index.html gets you close...

I suppose we all expect the string to be longer than scale to compensate for the increase in tension from fretting and because all the commercially available intonation products (Buzz Feiten & Earvana) are made for the retro fit market. But for new builds we can shift the string compass towards the...

Well done, Martin, on getting it all to work. It at least means that the stuff in the book is reasonably error free (I hope!). And thanks for posting those hints for other users. It's pretty easy to get into circular references when programming this stuff. So far, I think you're the first to have pr...

Well done on the de-bugging! Anything particular, or a variety of things? On the string stretchable length mentioned on page 4-115 of design - If the string is not a straight pull between tuner and nut (my design is a slotted headstock) does the change in direction over the nut remove that portion o...

Apparently! If only I could remember...