Why a neck volute?

[GregL]

Hi,
I've been around here for ages, and watched many youtube build videos, and I don't recall any explanation as to why there needs to be a neck volute? I know a volute would strengthen the *historically* very vulnerable area under the nut, but with a scarf joint, surely that area is no longer extremely likely to break? (I have "the books", so if there is a reference in them that I have forgotten about, please direct me to the appropriate page!).
Thanks,
GregL.

[johnparchem]

The look good? I know that some of them were part of the headstock to neck joint. I believe a lot of them are decorative.

[RodC]

I like the feel of them over a flatter transition.
For me it is both an ascetic and tactile thing.
With modern glues and scarf joints, I don't think there is any structural reason though.

[Mark McLean]

I believe that it originated with the use of a V-joint, aka Bridle Joint, or Bird's Beak joint. This is a complex form of angled mortise and tenon joint that originated with spanish guitar makers, but was also used by CF Martin in the 19th century. It looks like a huge PITA to execute, but very elegant if done well - and it produces the distinctive diamond shaped volute on the back of the headstock. Because Martin did it , it was copied by many other builders and became a visible sign of "quality" building.

Here is a pictorial on the Greven Guitars website which shows it well:
http://grevenguitars.com/birds-beak-demo.html
Also a video from Robbie O'Brien with lots of information:
https://www.youtube.com/watch?v=KocJHch ... =emb_title
There are many variations on the theme.

By the 1920s or 30s most builders, including Martin, had decided that the traditional Bridle joint was much work for no real advantage - so they switched to simpler joints. But Martin still carved a (strictly decorative) diamond volute in the same place to keep the traditional look.
Why would you bother in the modern era? Only if you want to recreate the look of that past era.

[rocket]

Very interesting Mark, I had the impression that the volute was more related to that of those used in the Viol family, violin, cello etc. I have used the volute on some of my builds mainly for aesthetics but thought it made sense because of the distant relationship that family and archtop guitars have.

Cheers
Rod.

[nkforster]

There are alternatives...

[Mark McLean]

Rod, you made me look it up and I discovered that I have been following an incorrect usage of the word volute. Martin refer to their diamond (or dart) shaped prominence on the back of the neck transition as a volute.

0E891BD9-EAB4-446C-9FE1-F2593C6AD083.jpeg (16.67 KiB) Viewed 13785 times

I have always accepted that as the correct term, and thought this is what the word volute meant. But it seems Martin probably chose an inaccurate term for their design.
Today I discovered this thread which outlined the real meaning of the term:
https://www.acousticguitarforum.com/for ... 602&page=3
Some of it gives a really interesting explanation of the word. A dictionary definition is
1: Architecture A spiral scroll characteristic of Ionic capitals and also used in Corinthian and composite capitals.

2: A deep-water marine mollusk with a thick spiral shell that is colorful and prized by collectors. Family Volutidae, class Gastropoda: Voluta and other genera
And here is nature's origin for this classical architectural feature, found on Ionic and Composite capitals:

So, your pictures are really showing a volute type structure, and Martin’s thing is not a volute. I didn't know that until today.

[Mark McLean]

But getting back to Greg’s original question - why?
It has sometimes been suggested that it strengthens the neck at a point of weakness. I have been sceptical of this, especially with regard to the Martin dart. Is it in the right place, or substantial enough to make much of a difference? But if you look at this cross section of a Les Paul neck without a volute you can see why Gibson’s design with the truss rod adjustment at the headstock creates a neck that is ready to snap off the day it falls off a guitar stand. And any extra meat there has got to be an improvement.

CFEEA590-E42F-4E62-A735-DD78E82F0675.jpeg (34.1 KiB) Viewed 13784 times

I have built guitars with volutes, or darts, and with headstock adjusting truss rods, or Martin-style. My latest preference is truss rod adjustment through the sound hole, and a neck transition with a backstrap just like Nigel’s design (but I must admit my execution is not as classy as his).