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estebanana -> RE: 19th century spirit guitar (Apr. 6 2023 3:27:54)
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Are you talking about the solid back liners or the glue blocks against the top?
* I reread your question after I finished lunch and see you are talking about glue blocks. Itās a bit bigger of a subject than it seems, or it has a few subtle points you should hit on to do it well.
We can go into it, but sure you. An use either a solid liner or a set of blocks. Lots to talk about. I asked Aaron Green why he switched from glue blocks to solid liners, he said I just got sick of putting them in one at a time. So thereās that, and some people have ideas about rim stiffness in a glue block vs. solid liner comparison. A lot of these things are really anecdotal because how do you test this stuff?
You can make classical and flamenco guitars with blocks or solid liners, but creating too stiff of a rim is anecdotally thought not to be a good idea for flamenco guitars, better for classical. And thereās a whole bunch of bogus suppositions that go with it. Itās just how you like to work.
One supposition that comes up is that stiff rims create better sustain, but you have to think about what does better mean. Sometimes sustain gets in the way.
I donāt think the 19th century fellows were thinking much about how the distance glue blocks effected sound, it was probably more about there being less labor involved with farther spaced blocks. I also tend to think that once the top and blocks are glued together it creates a fairly rigid structure or a rigid enough structure to allow the top to work. Itās only when you compare radical design differences that you really hear major sound changes. Think of the heavy rigid frame of. Smallman guitar thatās built to counteract the sheer force in string tension vs. my little Arias like eggshell.
The eggshell will have a very different general sound quality than the speaker cabinet.
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