Acoustic Guitars </p>
<p>Acoustic Guitars: Construction Influences Sound</p>
<p>We continue our exploration of guitars and how they are made, what makes<br />
them more or less valuable, pricy with this musing on material and<br />
something called plate bracing.</p>
<p>Construction methods and materials influence the sound quality. That much<br />
we have established so far.</p>
<p>Center-cut woods, preferably hardwoods are mostly used. There are typical<br />
economic and conservation voices and concerns here and mostly instruments<br />
are cut from sustainable forestry type sources The types of wood have<br />
natural acoustic properties. How it is harvested, where it comes from,<br />
the age of the tree etc. all matter.</p>
<p>Parts of the guitar are all made from different types of wood due to<br />
their variation and variety in sound properties and acoustic<br />
characteristics. No real comparison with fibreglass, carbon fibre and<br />
various other polymers, also used in other instruments and variants other<br />
than acoustics. There is not real replacement or imitation for wood. Less<br />
vibration and less costs does not seem like the best way for the guitar<br />
to be going, if we are to experience great sound at a reasonable price.<br />
Quality does still matter when it comes to guitar purists.</p>
<p>Other areas where some of these synthetic and composite type materials<br />
fell short, were on the stiffness-to-mass ratio, elastic moduli,<br />
damping, or longitudinal to lateral grain properties that is needed to<br />
create great-sounding timbre and depth in the produced sound.</p>
<p>As complements, not main or base materials (carbon-fibre strut<br />
reinforcements) they can add quality to the soundboards and end-result.<br />
Aesthetics will never matter more than acoustics and quality sound!</p>
<p>Plate Bracing features on the guitar include the sound board and back<br />
plate, typically thin and in need of more support. The design is<br />
attributed to Antonio de Torres Juan (1817-1892). And more recently Greg<br />
Smallman, considered inspiration for the criss-cross’ lattice bracing<br />
tapering outward, radially from underneath the bridge saddle. These<br />
principles and development all have to do with how the guitar radiates<br />
sound. Whoever thought that geometry would come in handy! It is<br />
crucial, whether asymmetrical or symmetrical design and patterns are<br />
used, they are critical for the acoustics and resonance of the instrument<br />
as most makers will be the first to tell you. It is about so much more<br />
than the properties of the wood, materials, placement, design!</p>
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