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RE: Soundport AFTER guitar made? (in reply to XXX)
One more time a discussion of soundports which is full of errors and is used mainly to promote personal ideas and not to put light on the subject. Just more muddy waters
Mr. Blackshear, I particuarly enjoyed hearing about how your guitars only work with one brand of string.
I compared these things for a few years and had to put a warning, just recently, about the possible distortion of using other string brands.
There are other makers who have to give instructions about their guitars with certain idiosyncratic manners. This is not new but has been a tried condition with players trying to find the right strings for their guitars for a long time.
I make it simple and give the right string set, D'Addario EJ46 for my guitars when they are new, since they are fine tuned to them.
And for the sound port issue. I had this discussion with Roger Thurman years ago when he first came out with his design. He approached me to use it for better volume and audio feed back but I found his design to be too intrusive with my traditional approach.
Anyway, I felt my guitars were loud enough. I was building almost exclusively, the Miguel Rodriguez design, which were loud guitars to begin with.
Then Bob Ruck came out with his own idea of a sound port but his design was less noticeable than Roger's design. And this went on for awhile until Bob started giving a plug of sorts for the people who didn't care for the extra hole. Now, it seems that this trend is relaxing a little and going back to the traditional motif.
I personally don't care for the added appearance on a traditional model, that I build, and I believe the extra port releases sound too fast for it to be homogenized into a more complex voicing. But for those who appreciate a guitar that has more power, something akin to an old freight train, or an old inverted vacuum cleaner, then go for it, if that is what turns you on.
RE: Soundport AFTER guitar made? (in reply to Anders Eliasson)
Thanks for the clarification Mr. Blackshear.
But surely such a strong recommendation, indeed a 'warning' of possible distortion means that one buys a Blackshear to match a string. Isn't this putting the cart before the horse on a cosmic scale? Nothing wrong with recommending a string but what if the company goes out of business? Are purchasers then consigned forever to 'distortion'?
I can't help thinking it's a marketing ploy that needs a little more thought. My guess is that your guitars sound swell with any strings attached.
As for the saga of the soundport: The original poster has already made up his mind that he wants one. He's already had some rational-sounding advice from a luthier, and Alan Carruth's analysis covered the Dan Dare scientific bit.
He came here to hear what he wanted to hear, ergo; if I lacerate my guitar will I regret it? No, no, they cried. It's marvellous, better than sex, etc.
But all the arguments in favour sound exacty the same as arguments that could be made in favour of any guitar, with or without the frontal lobotomy.
I have the exact same reaction as Florian has when he takes out his guitar, even though mine is the antiquated, second-holeless version. Deniz says he just has to listen, to use his ears. But he can only use his ears after he has made a gaping hole in the thing. Getting it 'unholed' if his ears turn out nonplussed is beyond tricky.
Could not one achieve the same effect by swiping a stethoscope from the doctor's office and taping the cold part to the side of the guitar? Or how about welding one of those old gramophone horns to a bicycle helmet and feeding the sound to earphones?
A high tech version might be buying one of those little mics to plug into an iphone and listening while one plays.
I don't see how any of this can be down to 'errors' or misinformation. It's a hole in the side of the guitar. What is there to know about such a thing?
Would anyone here, if they owned a 50,000 dollar masterpiece, drill a hole into it, even if the hole made it 'sound' better to the player?
So much emphasis on sound or the hole itself when the only issue is resale value and/or whether one likes the look of extra holes in the guitar.
I have a guitar that has a beautiful sound but what really matters to me, miles and miles beyond that, is how it feels. That's why I'll never own a Blackshear, for example, because I like slippery strings, and I want to be able to buy the cheapest ones that are in tune and slippery.
Whether a soundport 'works' or not matters not a jot; that's a personal decision. But if it should prove to be a 'fad' then a decent guitar might end up completely worthless. Just because there are a few knocking around here doesn't mean the design will survive in any meaningful commercial or artistic way. It's a risk.
It really is worth remembering this when waxing lyrical to a guy with a drill in his hands listening to the song of the sirens.
ORIGINAL: z6 But he can only use his ears after he has made a gaping hole in the thing. Getting it 'unholed' if his ears turn out nonplussed is beyond tricky.
I dont think it would be much of a problem to unhole it. Yes i took a small risk of not liking it, but i had put my trust on Jasons soundport test video and his comments. Again, hearing the difference with my own ears helped too of course. Without hearing it myself i wouldnt "know" what it does and surely wouldnt feel the need to get one. Resale value? Well i had found a guitar i like and I wanted to actually play that guitar (whole reason of buying it in the first place), not sell it, and i want to have the maximum achievable sound. Financially i think it is one of the most cost effective changes that you can do to a guitar to improve the sound, next to changing the strings of course.
But surely such a strong recommendation, indeed a 'warning' of possible distortion means that one buys a Blackshear to match a string. Isn't this putting the cart before the horse on a cosmic scale? Nothing wrong with recommending a string but what if the company goes out of business? Are purchasers then consigned forever to 'distortion'?
I can't help thinking it's a marketing ploy that needs a little more thought. My guess is that your guitars sound swell with any strings attached.
It's not that other strings, close to the same string tension and variability, might not work on my guitars but that I tune the guitar tops for these particular strings.
The recent problem tells me that the GUITAR should have the highest and best recommendation for its performance. This is the reason I say, change string brands at your own risk. If I advertise my guitars as being finely tuned, then this is the least I can do to guard against any damage that may be done by using another brand string. I hope this is clear.
And don't kid me about string companies going out of business, not at my age
I have a guitar that has a beautiful sound but what really matters to me, miles and miles beyond that, is how it feels. That's why I'll never own a Blackshear, for example, because I like slippery strings, and I want to be able to buy the cheapest ones that are in tune and slippery.
Ah come on, now! You won't buy a Blackshear because you like slippery trebles??
The person who just bought my latest model said, that the trebles were very shiney; his discription. But the articulation is something that I find necessary, especially for a flamenco guitar, tighter for the right hand with a good snaping sensation along with a flat left hand ligado, not bouncey.
So I think that you may put too much emphasis on strings to make a guitar sound and feel like you want, instead of playing a guitar that has it's own delivery with proper tuning.
Check out another Blackshear guitar he played, similar to the one he bought.
RE: Soundport AFTER guitar made? (in reply to Anders Eliasson)
Thanks again Mr. Blackshear. I wish I could try one of your guitars. I doubt I'd have any problem with them using any string, but I see what you're aiming for.
Deniz: Really? One can 'unhole' a guitar? I would have thought it would leave marks, even if the original 'plug' were cut very finely.
I'm not really disagreeing on any of your conclusions. To me it just seems quite a radical thing to do for something that is, in the end, psychological (in the sense that most people strongly imply that the improvement is something that only the player hears). And with such cheerleading for the port directed at someone evidently predisposed to have his guitar operated upon, I thought it important to point out that a guitar that would achieve 'x' dollars in the market before the op may suffer a devaluation. Holyevil didn't say how much his guitar was worth but he did say the luthier was against doing it because his guitar was 'nice'.
Even if we plan to never sell our precious guitars, knowingly taking the risk that we might hack a chunk off the value should give some pause for thought. For example, if it is a guitar built by a maker who regularly sells guitars with ports then the market should hold, but my example of a 'great' guitar can be applied to any guitar where a port is an 'unusual' customization.
But I can see that if he takes the plunge he does have plenty of like minds here to ease any lingering doubts (which he displayed by the act of posting here after getting what sounded like sound advice).
For some people it suits better to give some pause for a second and third thought, consider resale value when they have no intentions of selling and wonder whether its a mere psychological effect... meanwhile others have passed the "thought process" already years ago and are enjoying the real and completely non-psychological improvements.
RE: Soundport AFTER guitar made? (in reply to Anders Eliasson)
Apologies Deniz, perhaps I wasn't clear:
There is a real effect. That effect is only psychological in the sense that the only person who gets to hear the real effect is the player.
Therefore, the soundport (like my stethoscope/gramophone horn designs) is like Dumbo's feather, no? My designs do not hurt the guitar in any way, they simply demonstrate to the onlooker what is really taking place.
Try the stethoscope design if you can't find a gramophone horn handy and tell me it isn't the most efficient, cost-effective improvement one can perform on a guitar... and the guitar doesn't even have to suffer.
That sounds ruder than intended but I want to be clear, just in case you guys get looked up by people who then go on to lobotomize their guitars. The guy who came looking for affirmation here hadn't made his mind up years ago. He wanted to know if it would 'work' as a customization, now, and after a luthier had expressed serious misgivings.
Indeed, some people think once or twice or many times. And some people don't think about resale values and some do.
I'm not talking here about customizations, in general, that might affect resale value. I'm only referring to cutting a hole in the side when there is already a perfectly good hole cut in the front.
You didn't answer on the 'deholeing' issue. It would leave marks, at best, right? Would you really do it to the world's best, most expensive guitar?
Let's be clear. You guys are talking about something very profound here... a simple alteration that will improve any and every guitar. Any and every guitar. Think once or twice or three times about that, if you will.
Did/do the masters not build good enough guitars that all we have to do is cut another hole in them to improve them?
It would be nice if the guy playing it would not talk while he plays so that one can hear the guitar uninterrupted for four minutes.
It would aslo be nice if he play from light to hard and played in compas. I'm not impressed with ticklish uneven picado and it's a bad way to hear what a guitar actually does.
What I want is a guitarist to play por arriba and por medio in compas in one of the four main palos and show me how the guitar plays the essential chords of solea and bulerias in first position. Then play those chords and put some falsetas between them in compas. Maybe show me how the guitar plays with a cejilla on fret three and five por solea.
What this tells me is that the player understands compas and the full range of flamenco technique it takes to play accompaniment. If I feel secure the player gets that then I feel like I'm getting a proper read on how they dig tone out of the chords.
If someone drags a dirty thumbnail through that fat solea F chord por arriba I can tell a lot more about how flamenco a guitar is than a talkie tickle session.
Basically I want to hear if the guitar has music in it.
Also think the strings need to be run through a bar of parafin, they don't sound slippery enough.
There is a real effect. That effect is only psychological in the sense that the only person who gets to hear the real effect is the player.
Actually z6, not contradicting you, but the others in the room also get a whiff of the sound port sound, but the player gets most of it. It has been tested to increase the total volume on some guitars in before and after tests.
It seems like this sound port issue has become amazingly polarizing. One side says those who have not embraced it are lagging behind, while the other claims it is the emperors new clothes. At the end of the day it's just a hole in the side of a guitar.
Also you're super funny. I mean in an articulate V.S. Naipaul sarcastic way.
RE: Soundport AFTER guitar made? (in reply to estebanana)
quote:
It would be nice if the guy playing it would not talk while he plays so that one can hear the guitar uninterrupted for four minutes.
It would aslo be nice if he play from light to hard and played in compas. I'm not impressed with ticklish uneven picado and it's a bad way to hear what a guitar actually does.
I agree but this was an informal take on the Brazilian rosewood classical guitar for sale at Savage Music Company in New York. Carlos Rodriguez is a fine classical guitarist and was just running through the numbers for Rich Sayage the owner.
Carlos will try and put some classical music up on you tube later on, with my new guitar. What I'm trying to do with this new model is to express both classical and flamenco music on one guitar rather than building two different models.
And this new model is more toward middle pricing, instead of my higher priced models. But I'm finding that the middle price is still very high quality, only I've taken some short cuts on finish and shop labor with some jigs that save time.
I never felt like I could do this with the Miguel Rodriguez style but with this new model, I feel there is a good chance, for the flamenco testosterone and the lyrical classical side. I may wind up eating my words but time will tell.
Posts: 271
Joined: Sep. 19 2011
From: Louisville KY
RE: Soundport AFTER guitar made? (in reply to estebanana)
quote:
ORIGINAL: estebanana At the end of the day it's just a hole in the side of a guitar.
That about sums it up I would say.
When it comes to ports in flamencos, I for one consider Stephen to be an authority on the subject. He's pointed out the good and the bad many times on here. Though I have only played two of his guitars, they both were a great representation of his work. One had a port and the other didn't, and the port didn't make one a better or worse guitar.
Its interesting to see this subject get beaten out again. :) Its even brought MR. Tom B out of the woodwork. I wondered where you had went sir?
By the way, I'm in strong agreement with the idea of putting the same strings on a guitar that it was voiced/ set up with. I have come too except that when I put something other than J46s on my guitars, it takes them several days to start finding their voices again. I have always been sensitive to that myself. J46C all the way here...
I'm not really disagreeing on any of your conclusions. To me it just seems quite a radical thing to do for something that is, in the end, psychological (in the sense that most people strongly imply that the improvement is something that only the player hears). And with such cheerleading for the port directed at someone evidently predisposed to have his guitar operated upon, I thought it important to point out that a guitar that would achieve 'x' dollars in the market before the op may suffer a devaluation. Holyevil didn't say how much his guitar was worth but he did say the luthier was against doing it because his guitar was 'nice'.
Even if we plan to never sell our precious guitars, knowingly taking the risk that we might hack a chunk off the value should give some pause for thought. For example, if it is a guitar built by a maker who regularly sells guitars with ports then the market should hold, but my example of a 'great' guitar can be applied to any guitar where a port is an 'unusual' customization.
But I can see that if he takes the plunge he does have plenty of like minds here to ease any lingering doubts (which he displayed by the act of posting here after getting what sounded like sound advice).
I do realise that resale value might come up to people's mind, but I seriously have never thought of it, because I really lucked out when I bought this guitar, the sound and feel is both awesome. It's a brazillian negra by David Macias bought from Orson on this foro. I was just afraid of affecting the sound (after the advice from the luthier). That's why I after receiving the advice not to do it on my current guitar, I sought advice here about their thoughts.
I do appreciately all the replies here both pro/against it. I'm not an expert, so I like to hear other views.
If someone does get a soundport on their guitar after it is made, I believe it's totally within their right to do it, as it's their guitar. And if there's something we can do to improve the sound/playability of a guitar that has already been made, why not.
As for the saga of the soundport: The original poster has already made up his mind that he wants one. He's already had some rational-sounding advice from a luthier, and Alan Carruth's analysis covered the Dan Dare scientific bit.
He came here to hear what he wanted to hear, ergo; if I lacerate my guitar will I regret it? No, no, they cried. It's marvellous, better than sex, etc.
I actually made up my mind that i like a guitar with a soundport, but was just wondering what whether it would negatively affect the guitar that I ready have as it's not put in during the guitar construction.
RE: Soundport AFTER guitar made? (in reply to Anders Eliasson)
Hi Holyevil,
I'm sure you'll enjoy the port. And I'm sure the guys who have them and posted here in support of such did so in good faith and the best spirit possible.
I hope my attempts at 'Devil's Advocate' didn't offend anyone. You guys may have done this subject to death but it's new to me.
Deniz: Let's call it a draw.
Estebana: I'm amazed that some people (such as yourself) seem to have 'online comic timing'. It's your fault that I'll be on the train tomorrow and keep remembering your hot little mama post. I have a tendency (not recommended if you work with Swiss people) to burst out laughing at funny stuff that I can't get out of my head. It can go on for days... even years.
RE: Soundport AFTER guitar made? (in reply to Tom Blackshear)
quote:
I never felt like I could do this with the Miguel Rodriguez style but with this new model, I feel there is a good chance, for the flamenco testosterone and the lyrical classical side. I may wind up eating my words but time will tell.
I'm building a Rodriguez style classical right now as my personal side project. I think luthiers, like English Majors, go through period of reading/making all the classics. I've really done my Santos Hernandez homework, have been to Barberoville and Ramirez Junction so now I trot off to learn from Mr. Rodriguez.
At some point in my life I intend to earn enough money from making guitars to take a vacation to a secluded warm beach where I will not have a care to worry about and finish reading the Alexandria Quartet. Before then I'll probably stay in the Double Top Hotel and see Hauser Valley. But my Santoish guitars will always be the home base.
My intentions with classicals to make them have sustain to get through singing passages but with flamenco voices. I am not a fan of clear rounded tone. In violins and celli I prefer the dark ponderous kinds of voices. Whether I can do it or not will remain to be heard, but something is telling me Rodriguez has lessons to teach. Jason has been interested in playing Bach. He's been playing movement from the violin partitas to warm up before flamenco shows. In the passages where the violin would play broken chords he does them with little rasgueados. It's really, to me, in the spirit of Bach because he makes it sound like he is inventing it on the spot. That is getting me excited about classicals that can do rageo and have growl.
RE: Soundport AFTER guitar made? (in reply to estebanana)
quote:
My intentions with classicals to make them have sustain to get through singing passages but with flamenco voices.
If you try my plan for the Rodriguez, graduate the top with the stair step method to get hollow bass's and earthy trebles with a singing edge. If you need any help just e-mail me at tguitars@texas.net
RE: Soundport AFTER guitar made? (in reply to Anders Eliasson)
I made the drawing myself and I already thinned the top. I believe in trial and error and risk. If I make one Rodriguez type guitar then I will learn the right questions to ask. I want to test myself to see if I know what I think I know. We'll see what happens.
I'll let it out in public in a few months. This is my personal project for my own growth as a builder, it's not for a customer so I have to build it after I take care of my regular stuff. .
RE: Soundport AFTER guitar made? (in reply to estebanana)
Miguel Rodriguez experimented with many top graduation techniques. I chose what I thought to be his best out of guitars from 1959 to 1994. The two graduations on my plan are the best, in my opinion.
But it never hurts to build a few and get what you believe to be similar results from the old master. There are quite a few ways to treat the top to gain certain characteristics in tone. And this is mainly with top graduation without having to move the fan braces. However, I got into learning how to fine-tune these instruments in their bracing due to his inherent problems with some notes.
Strangely, a lot of his fan braces on his 5 brace design were of different sizes, and even though they followed the same pattern and shape, they would be tapered differently from one guitar to the other, as far as wood mass. I talked with Yuris about this and he realized the same issues.
So, the bottom line with the Miguel Rodriguez guitars is that every one of them seemed to have different top graduations.... and fan brace dimensions, to a lesser degree. I think Miguel was continually experimenting with his work until he passed on. The same for his son, Pepe.
Posts: 797
Joined: Jun. 1 2010
From: Halifax, Nova Scotia
RE: Soundport AFTER guitar made? (in reply to Anders Eliasson)
wow, emotional topic
My experience with them is positive, although limited. I had a custom built steel string that included one (during the built, not after) - I enjoyed the fact that I could hear myself better. It wasn't a quiet guitar to begin with, but the port gave me a more direct sound as I was playing. I'm having Stephen Faulk put one in my upcoming blanca - not concerned with resale because I don't plan to sell it, but I think that is an important consideration since some people seem very much opposed to them.
They are kind of a take-it-or-leave-it thing for me. As already stated, they are not a revelation that will make any guitar automatically better. IMO, YMMV etc.
Posts: 15242
Joined: Dec. 14 2004
From: Washington DC
RE: Soundport AFTER guitar made? (in reply to Tom Blackshear)
quote:
And again, the voice is so finely tuned for treble and bass response that a sound port would ruin it.
I respect the fact you know the details of your own build down to string brand effect, but in my logic I feel you imply that if the guitar is simply not tuned to exact A=440 (or whatever you recommend) then regardless how well intonated and tuned relative to a higher or lower reference pitch the guitar and playing is...the istrument runs the risk of seriously sounding bad with all the fine tunning detail displaced and dissonant. I only bring this point because in reality it is so frequent in flamenco when altering tunings and using capo, that flamenco guitarists are NOT always at 440 concert A.
RE: Soundport AFTER guitar made? (in reply to Ricardo)
quote:
ORIGINAL: Ricardo
quote:
And again, the voice is so finely tuned for treble and bass response that a sound port would ruin it.
I respect the fact you know the details of your own build down to string brand effect, but in my logic I feel you imply that if the guitar is simply not tuned to exact A=440 (or whatever you recommend) then regardless how well intonated and tuned relative to a higher or lower reference pitch the guitar and playing is...the istrument runs the risk of seriously sounding bad with all the fine tunning detail displaced and dissonant. I only bring this point because in reality it is so frequent in flamenco when altering tunings and using capo, that flamenco guitarists are NOT always at 440 concert A.
Ricardo, you have hit the nail on the head and I have been working on this issue for over 25 years. Now, you can capo the fingerboard up to the 9th fret and it cries the way it is supposed too. Anything less than that and I don't send a guitar out. I've always built guitars with an ideal pattern of thought to please myself before anything else. And for some reason, I keep learning, as a builder, how to improve my art every year; even at my age
Posts: 15242
Joined: Dec. 14 2004
From: Washington DC
RE: Soundport AFTER guitar made? (in reply to HolyEvil)
quote:
ORIGINAL: HolyEvil
quote:
ORIGINAL: Ricardo
don't do it.
If you want to hear more guitar from your vantage point (the only point of a soundport) when practicing, simply play closer to a door, wall, mirror, or other flat reflective surface.
If you like they way they look, then decide if you may want to sell your guitar in the future or not first.
this was suggested to me by the luthier. Bathroom, wall, close my doors etc.
and i actually dislike the look of a soundport prior to playing one with it. Now I don't mind it.
and why did you say 'don't do it', have you had a bad experience with it? please share!!
Without following the entire thread, I would have assumed that someone linked old discussions where I related my feeling. Glancing over the new thread, again, I feel Im in the minority on the issue that they don't improve sound. Rather than look up old topics I retell about Ruck's guitar.
Ruck flamenco negra he gave to Gerardo in 2004 in sanlucar had two ports, one on each side of the neck on the sides. I was told he had been building guitars with ports for years so it was not a new weird thing. I experimented with it and heard it played by others. It came with "plugs" that you can remove to do objective test (as Jason did with his hand in an old topic). What I found was bottom hole not much difference, a little, top hole was obviously different. Both holes plugged guitars sounded amazing. Un plugg top and the sound and bass or perceived volume comes up, but with it a "Nasal" tone.....intstinct forces me to adjust right hand to get a more focused sound to compensate for this. Plugged up holes everying was back to normal.
Sitting in front of others with eyes shut to see if I was crazy, I felt there was some small difference. Again, with player right hand compensating it becomes a see saw. I also have accoustic electrics that when you open the pre amp casing you get a nice soundport to play around with....same deal. My conclusion has always been that the focused directional sound is changed, and I dont' see a point for that if it makes me want to also adjust my right hand for sake of sound in my head. Its a hair splitting issue, but again its enough for me not to get into them. Perhaps I am old fashioned, I got no problem with that. Why they are popular I feel is same reason any loud bright and bassy guitar impresses people at first. Its MORE sound, but not for me a "better" sound. Similarly when dealing with live sound so many players end up scooping mids out so the flamenco guitar sounds like amazing huge punchy bright blasting thing like heavy metal. I prefer flat as possible with good mids. Acoustically I gravitate to tight, not so loud, more midrangy focused voiced instruments myself. So it's just taste in the end as with everything guitar related.
If someone built me or offered me to perform with a ported guitar, I would simply cover the hole with tape, wood, stuff a sock into it, whatever I could do to focus the sound forward and enjoy playing normally.
Posts: 597
Joined: Jan. 14 2007
From: York, England
RE: Soundport AFTER guitar made? (in reply to Ricardo)
quote:
I feel Im in the minority on the issue that they don't improve sound
Not at all; you are very much in the majority. If they improved the overall sound every guitar would have one. Just walk into any guitar shop and take a look around. They seem to change the sound for the player but not for the audience. They reduce resale value, because most people don't want them, and its a tricky thing to reverse the process. Maybe I'm missing something but if you have a good guitar, why the hell would you put a hole in it?
Posts: 1821
Joined: Jul. 26 2009
From: The land down under
RE: Soundport AFTER guitar made? (in reply to Ricardo)
quote:
Un plugg top and the sound and bass or perceived volume comes up, but with it a "Nasal" tone.....intstinct forces me to adjust right hand to get a more focused sound to compensate for this. Plugged up holes everying was back to normal.
Sitting in front of others with eyes shut to see if I was crazy, I felt there was some small difference. Again, with player right hand compensating it becomes a see saw. I also have accoustic electrics that when you open the pre amp casing you get a nice soundport to play around with....same deal. My conclusion has always been that the focused directional sound is changed, and I dont' see a point for that if it makes me want to also adjust my right hand for sake of sound in my head. Its a hair splitting issue, but again its enough for me not to get into them. Perhaps I am old fashioned, I got no problem with that. Why they are popular I feel is same reason any loud bright and bassy guitar impresses people at first. Its MORE sound, but not for me a "better" sound. Similarly when dealing with live sound so many players end up scooping mids out so the flamenco guitar sounds like amazing huge punchy bright blasting thing like heavy metal. I prefer flat as possible with good mids. Acoustically I gravitate to tight, not so loud, more midrangy focused voiced instruments myself. So it's just taste in the end as with everything guitar related.
That's very well explained Ricardo. I noticed the same thing on the guitar we experimented with. I have to agree that the nasal sound was distracting for me as well. I guess over time i could get used to it. But that being said, any changes to the actual guitars "character sound" was indistinguishable to my ear. Overall, the guitars sound seemed less focused from the playing position due to the new nasal hum.
Posts: 1821
Joined: Jul. 26 2009
From: The land down under
RE: Soundport AFTER guitar made? (in reply to El Kiko)
quote:
What you are saying is , it really wasn;t worthit ?? I think the sound port idea may only be for performance guitars as it becomres like a little personal monitor to hear your self . If you stripped the laquer etc off the front and re-polished it very thin ,, now that would make a difference .........
Hey Kiko,
Lets just say that it didn't inspire me to do it to my good guitars. But it didn't ruin the guitar either. It did change it slightly though. Whether it was for the better is really up to each individual i suppose. After a re fret, preferable action set up and the port was added, my friend sold the guitar at a profit.
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