Thank you for you interest, comments and questions. I’m not sure how to answer the question of how I came up with the concept but will give it a try.
I am attracted to the strength and density of lattice bracing, yet there seems to be a signature sound that is sort of grainy or mechanical. I hypothesized that perhaps it was because of the squares that are made. It is my notion that the underlying mechanics of a square and the way in which it controls the top is what is responsible for the sound we associate with a lattice. What became most fascinating to me about lattice bracing was actually the interlocking bracing.
Lutherie is the study of nature. We study the nature of material, the nature of sound and the nature of perception. Anyone who has studied the concept of the golden mean understands nature does not willingly divide into fours. Music itself is based on thirds, fifths, sevenths and ninths. Most of our hero luthiers use these concepts in their designs. I am drawn to an aesthetic that inherently employs some of the chaos of nature rather than trying to control it with a box.
Falcate bracing inspired my imagination. Does a strait line in nature really exist? Light even bends around objects. On a guitar, the one thing that could be truly thought of as straight is the stretched string, yet it is the oscillating string that powers the instrument. The defiance of the straight line could arguably be the basis of the whole concept of a guitar. These musings make the notion of curving braces seem quite attractive on an artistic, metaphysical level.
As a luthier I strive to create powerfully inspirational tools for creation. However serious that might seem, guitars are also about play. I think that being playful with the design can serve the evolution of the instrument. Being playful does not come without risks. The White Tara was a 200 hr, $700 experiment. The sound of the guitar is quite lovely. The tone is rich and lush, with the definition and clarity that you might expect from falcate bracing. It also has an even tone with plenty of sustain. I’ve included a sound sample, so I’m interested in your perceptions. My playing, ugh, please overlook my stumbling about.
https://soundcloud.com/frank-e-t/whitetara-guitar-demo
I do think I underestimated the strength of my bracing (Sitka 5mm wide about 5.7mm high in center). Looking at the modes you can see they are fairly high, even with the use of lots of mass in the sides. The bridge weighs in at 15 grams. Top thickness is to G&G book for classical (60), about 2.2mm . Bridge rotation is maybe 1.5 degrees. The amount of bracing (not talking height) really isn’t that much more than a 7 strut fan, certainly less than the Fleta. Even though the guitar has been described as lively, no one would say it is a loud guitar.
I’m currently working on a steel string with 5 interlocking braces and the wingless bridge. Please, any ideas, observations and comments that would help with my next build would great.
Frank
- End Graft
- oil finshed neck
