The Jazz Guitar Chord Dictionary
Reply to Thread Bookmark Thread
Page 2 of 2 FirstFirst 12
Posts 26 to 41 of 41
  1. #26

    User Info Menu

    Quote Originally Posted by kenbennett
    There has to be an actual difference. Otherwise there could be no preference. If they were the same, how could you prefer one over the other.
    But there doesn’t have to be a difference for many to believe there is one.

    Enthusiasts have strong preferences among many alternatives that are indistinguishable from one another in blinded auditions. Be it guitars, amplifiers, pianos, cameras, audio equipment, cars or anything else that produces a physical output (sound, picture, 1/4 mile & lap times, etc), humans are inherently biased observers who generally think that what they like is somehow better - even when they can’t identify it if they don’t know that it’s “their” favorite.

    We listen with our eyes, hearts and minds in addition to our ears.

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #27

    User Info Menu

    To speak in broad generalities, I think parallel bracing gives more of a classic archtop sound, and x bracing is a little closer to the classic flat-top sound. The differences aren't usually all that dramatic though, just somewhere along a broad continuum. There are many other factors involved in the sound, of course, and each instrument is different. I have archtops with both styles of bracing, and I tend to prefer parallel, but I wouldn't reject a guitar just because of the bracing pattern.

  4. #28
    Glad this one's parallel braced. Thin-line we're working on -- I want to try light X-bracing, Ken Parker Archtoppery style. Keep you posted
    Attached Images Attached Images X vs Parallel Bracing-img_20230112_113436064_hdr2-jpg 

  5. #29
    Guillaume Raincourt uses this in his instruments
    Attached Images Attached Images X vs Parallel Bracing-45f8389a-e967-4582-a8a0-a04726745381-jpeg 

  6. #30
    It’s sort of a combo of x-bracing and parallel bracing, but with it actually being sculpted into the very wood that makes up the top plate—Certainly some acoustical and structural advantages. Yet, it’s a more challenging job to create it. I believe it’s worth the effort.
    Attached Images Attached Images X vs Parallel Bracing-c97a92ed-d475-439a-beb5-77bca72f4ca5-jpeg 

  7. #31

    User Info Menu

    Quote Originally Posted by ArchieHollow
    It’s sort of a combo of x-bracing and parallel bracing, but with it actually being sculpted into the very wood that makes up the top plate—Certainly some acoustical and structural advantages. Yet, it’s a more challenging job to create it. I believe it’s worth the effort.
    I find it a bit of a stretch to call this a combo of X and parallel bracing (I think others call this K-bracing), and you'd need to compare it with a Rancourt instrument that has the same pattern made of traditionally glued-in braces to determine which has the acoustic advantage. One evident thing you can't do with this approach is to use a lighter material for the braces.

  8. #32

    User Info Menu

    Quote Originally Posted by ArchieHollow
    It’s sort of a combo of x-bracing and parallel bracing, but with it actually being sculpted into the very wood that makes up the top plate—Certainly some acoustical and structural advantages. Yet, it’s a more challenging job to create it. I believe it’s worth the effort.
    CNC machinists use this technique. That might be a giveaway as to his production methods.

    When you use CAD, there are all sorts of wonderful things can be dreamt up and test before making.

  9. #33
    Due to question of semantics, let’s put “combo” in quotes. Personally, I’m reminded of what is accomplished by both x-bracing and parallel bracing; and Guillaume’s carved bracing should accomplish what a light version of each would do (conceptually.) I’m experimenting with it with one I’m currently building.

  10. #34

    User Info Menu

    Quote Originally Posted by nevershouldhavesoldit
    But there doesn’t have to be a difference for many to believe there is one.

    Enthusiasts have strong preferences among many alternatives that are indistinguishable from one another in blinded auditions. Be it guitars, amplifiers, pianos, cameras, audio equipment, cars or anything else that produces a physical output (sound, picture, 1/4 mile & lap times, etc), humans are inherently biased observers who generally think that what they like is somehow better - even when they can’t identify it if they don’t know that it’s “their” favorite.

    We listen with our eyes, hearts and minds in addition to our ears.
    Heard melodies are sweet, but those unheard
    Are sweeter; therefore, ye soft pipes, play on;

  11. #35

    User Info Menu

    Michael McCarthy has been doing integrated bracing for years, and makes lovely sounding archtop guitars. CNC has its uses.
    Attached Images Attached Images X vs Parallel Bracing-michaelmccarthy-top-plate-jpg 

  12. #36
    Les Paul size double cutaway hollow body in progress.
    Carving integrated bracing, top glued to soundbox and trimmed after cutting f-holes.
    Progress continues. Keep you posted
    Attached Images Attached Images X vs Parallel Bracing-image-jpg X vs Parallel Bracing-image-jpg X vs Parallel Bracing-image-jpg X vs Parallel Bracing-image-jpg 

  13. #37

    User Info Menu

    I suppose that one is not intended to be an acoustic, but a full-depth acoustic archtop of that size and proportions could be cute. Supposing it will have a properly balanced sound in the standard tuning register ...

  14. #38
    Thanks for your input RJVB. The current build is sort of a "combo" of my two favorite instruments. I've had them both since I was a teenager back in '71. The first acquisition was my '42 Gretsch New Yorker. It was a gift from a dear uncle, and it was a basket-case, and I went right to work on restoring it and learning to play it. Originally, I used a '50s D'Armond floating pickup that slid along a rail that clipped between the tailpiece and the bridge. Couldn't keep up with my Rocker buddies, though. So I kept it as my go-to practice guitar.
    X vs Parallel Bracing-image-jpg

  15. #39
    My other favorite, I got in '72, an early '60s Gibson SG Special as part of a trade. I loved its playability (something that the ol' Gretsch was equal to,) especially the easy reach to upper frets because of double cutaways. And the Soap pick ups (P-90s) really delivered electrified sounds more like my rocker buddies were getting.
    Did some mods over the years, trying out different bridge set-ups. Then in 2000 did a neck reset. At that point I carved an arched top with a single f-hole on the low side, with a hollow shape of a G clef in the solid body under the f-hole. Put a tailpiece adjustable wraparound bridge. It gave me the light-wieghtedness of the SG with the deep sustain of Les Paul.

    The pic is of that SG. I left it with my friend in Minneapolis to play the blues. Someone stole his Fender Strat. Be getting it back this summer when we visit.
    Attached Images Attached Images X vs Parallel Bracing-screenshot_20220806-1650573-png 

  16. #40

    User Info Menu

    Quote Originally Posted by Archie
    CNC machinists use this technique. That might be a giveaway as to his production methods.

    When you use CAD, there are all sorts of wonderful things can be dreamt up and test before making.
    Hey
    I just stumbled on this thread by luck ahah.

    I don't use a cnc for my supports. You can see most of the process in the video I made last year on that topic.



    One thing to keep in mind here.

    - I use almost only Red cedar for tops. (One of the lightest option available)

    - Any glued spruce braces would actually have to be larger and would be heavier than the material I use for tops. And, any glued on, straight ''Braces'' actually need to be larger in dimensions... in attempt to reach the ratio of support/Strength and flexibility I can achieve using my technique, that actually results in support often being half the volume of material than a traditional braces, carved into a lighter material... while remaining more effective at supporting the downward pressure & transmitting the vibrations across the top more efficiently and responsively.

    One thing I would add though.

    The reasons I choose to work that way, is because it is the way that I find resonates the most to achieve the type of sound and expression that I am after according to my philosophy as a maker.

    Any other ways are valid and serve a different purposes and different pursuits.

    Best regards,
    G.
    Last edited by RancourtGuitars; 10-13-2024 at 02:12 PM.

  17. #41
    Quote Originally Posted by ArchieHollow
    Guillaume Raincourt uses this in his instruments
    SALUTE TO GUILLAUME RAINCOURT. Thanks for including your video -- hand carving the cedar top.