Live upper bout

Talk about musical instrument construction, setup and repair.

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dshaker
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Live upper bout

Post by dshaker » Tue Oct 06, 2015 7:32 am

I have just been reading about Rick Turner's live upper bout designs:
http://www.rickturnerguitars.com/pdf/05 ... er_all.pdf (2010 Fretboard Journal article)
in which he uses carbon fiber struts between the waist and head block to keep the neck from rotating up. He can therefore lightly brace the upper bout with the intention that it participate in top vibration.

There's a fair number of thoughtful luthiers that check in here. I was wondering what folks thought about this concept. I find it intriguing at the least.
-Doug Shaker

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kiwigeo
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Re: Live upper bout

Post by kiwigeo » Tue Oct 06, 2015 8:36 am

My thoughts based purely on reading Ive done over the years.....in the big picture the upper bout's contribution to the overall sound of the instrument is small. Allan Carruth notes that the upper bout on most instruments only becomes active at higher frequencies and a relatively high amount of energy is required to excite the upper bout modes.

With the above in mind I would ask the question...is the extra work required for special braces and elevating the fretboard worth it when you consider the benefits? If you're building with a cutaway the upper bout area is reduced and contributes even less acoustically to the big picture.

For more detailed discussion Id check out some of the other forums for discussions on the subject and in particular input from people like Alan Carruth, Trevor Gore and others.

Trevor will no doubt chime in with worthwhile comments on the subject.
Martin

dshaker
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Re: Live upper bout

Post by dshaker » Wed Oct 07, 2015 1:40 pm

I've looked at a few of Rick Turner's interviews and, as near as I can figure out, he feels that the more free upper bout gives him more headroom (range in playable volume) and more complex tones, leading to a more piano-like tone.
-Doug Shaker

jeffhigh
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Re: Live upper bout

Post by jeffhigh » Wed Oct 07, 2015 3:54 pm

The majority of the instruments I have built have used elevated fretboards and tilt adjustable necks.
But not for any sonic benefit, I don't perceive any difference when I dampen the upper bout with finger pressure.
The "Flying Butress " concept (really just a couple of struts) has never appealed to me, the soundboard is the main longitudinal structure between neck and bridge but with a bloody big hole in it that you need to get around.

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