With a break like this with plenty of surface area, I would just glue it without any additional supports. My glue of choice is hot hide glue, but there will be lots of opinions on that and many option…
I think that's a good move. One thing I might do to kick things of is to hit the area with some ultra thin master glue so it wicks under the area and prevents more chipping from potentially delaminate…
Hi guys, I finally managed to sort the problem out. Seens like was a simple issue that I cant see in that moment. I took the whole bridge apart and did a complete setup from scratch. I read somewhere…
This is precisely why Leo Fender developed the insideless guitar. A compromised neck block is super hard to come back from and when I see something like this, it leads me to believe that it's the tip…
Chris, can I add this for the council of elders show ? Also, we are going to have @member on pretty soon to talk about a job about this dramastic. Here's a link to the live show co…
For anyone who has done any of the spectrum analysis work based on the discussions with Giuliano Nicoletti on their new builds, or existing guitars, I figured we could post our results here.
Here is a spectrogram on a Big Hoss guitar we have for sale at Dream Guitars. Pardon all the braggadocious labeling. It's marketing. We are trying to sell it. However, all the statements are true, and I believe this to be a really good guitar. I would not have added the labeling just for a post to this forum.
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The first repeatable FFT plots I've been able to get. Used REW and the MiniDSP Umik-1 from Giuliano's book. This was quite the rabbit hole to get proper, repeatable FFT plots, but the pre-work is done. Figuring out the data implications will be another, like the double humps at 290hz.
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Karl, I find many guitars with 2 cross dipole peaks close together in the area you are wondering about. That includes all Lame Horse Big Hoss models, although they are spaced out just a bit more. Why? I certainly don't know, and no one else does either, but from doing Chladni patterns, that is what they are, at least on Lame Horse guitars.
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All three of these guitars were made from the same Torrified ADK Spruce from Stew-mac, and sinker mahogany back and sides from the same slab
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Nice plots. Have you discovered the overlay feature in REW? It's a fantastic feature for comparisons like this.
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I'm about to join the club- my cheap microphone I bought a year ago doesn't work with my laptop so I just ordered the UMIK-1 Omni-Directional USB mic in Giuliano's book.In the meantime, I've run REW with my PC microphone, so not posting anything until I get the UMIK.
It looks like my peaks are all lower in frequency that the lower limit in the charts: I'm interpreting that as "braces not stiff enough"/ too much scalloping. We'll see if a good, calibrated, USB microphone changes the capture.
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MAke sure your graph is set up properly to view the info as well.
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If anyone is interested I posted a 3d printed speaker housing for the speaker Guiliano recommends in Loothprints.
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Would love to get that file for the speaker housing.
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↪ Private memberNM. Found it in the files where you said you had posted. I just needed to read better.
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Muted top monopole on this D28 copy is higher than unmuted. I'm wondering if there might be some strange coupling going on. I can't identify a clear cross dipole and the back is not active, but I think it shows up (220hz) when muted. It's a sitka top with Gore-style X-bracing (no scalloping).
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Heres a 1972 D-35
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I am shocked by how active the back is on this Martin dread. How does this guitar sound? good, bad, great, fair, average?
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Hello everyone,
I see that already several of us are using the same software, and that's a great facilitation for sharing data; I am just adding a quick reminder of guidelines for sharing graphs, to make more simple to read and compare curves;
- always use a log frq axis
- set limits to: 45-95 dB, 60-1500 Hz
- export the picture at 810 pixel, write details on the comment field
I know that at the beginning this procedure might seem boring and pretentious, but then again having beautifully formatted curves to compare will quickly pay back, trust me!
Here an example, and thanks for tolerating my obsessiveness (I am getting older...). 😇
Cheers,
Giuliano
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What software is this?? In addition to these guidelines, do you have recommendations for software settings we should be using for frequency analysis?
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↪ Private memberNever mind, I just found the answer in Giuliano's book!
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Hi Jonathan,
Sorry for the late reply, a very busy period. Sharing measurements is for sure one of the purposes of this space, I love to see that there's already a lot of interest on the matter, let's keep on rocking!
Cheers,
Giuliano
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The Fairbanks has Honduran Mahogany back and sides and a Red Spruce Top
The Bourgeois Mahogany back and sides and Adirondack Top
The Guild - Padauk Back and sides (with a soundport) Sitka Spruce Top
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Same StewMac Kit with a 7 gram weight on the bridge plate
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StewMac Rosewood OM kit - in construction - top and sides only - no back
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The same Dale Fairbanks F35 with smoothing applied to the graph
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Dale Fairbanks F35
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Bourgeois Country Boy 00
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Guild GAD 30 PCE
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I just did my first test measurements and will upload later in the week after I make sure I have the system dialed in. There are four instruments: a Fairbanks F35, Bourgeois 00, Guild GAD30 and a StewMac OM top and sides that is mid build. This is going to be pretty wild. The information generated is going to take me some time to ‘grok’. And then of course, can the analysis lead to tweaks and correction?
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3) A Small Parlor(slightly smaller than example 1) of my own design with Adk top, enlarged soundhole, and Cherry
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2) A 12-fret Size 5 martin-style build with Redwood and Koa
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1) An 0-14 fret Martin-style build with Adk Spruce and 35-style Indian Rosewood B&S