He means that the most important determinant of guitar tonal character is
not the Bracing Pattern or the choice of Tonewoods, rather the Bridge
Design including Geometry (height of strings above the Soundboard which
determines the Torque on the Top), and choice of Bridge Wood, which impact
Stiffness, Density and thus Total Bridge Weight.
Mr. Brune gives a few examples including:
- Segovia's famous 1937 Hauser I guitar, which, although it had Brazilian
Rosewood Back & Sides, had a Bridge of East Indian Rosewood.
- Two 1970s Ramirez 1a guitars that Brune rebuilt, giving both guitars new
tops.
One replicated the Ramirez Bracing Pattern exactly, but was fitted
with Brune's Personal Bridge Design. This guitar had a sound character of
a Brune guitar, according to "good guitarists."
The other had Brune's personal Bracing Pattern, but used the Original
Ramirez Bridge. This guitar ended up having an excellent Ramirez 1a sound,
according to "good guitarists."
So much for the Spruce vs. Cedar Debate.
Regards,
John E. Golden
John:
You wouldn't have any pictures or explanation of the differences? Bridge
weight (mass) and stiffness are very significant to the sound. More so on a
classical guitar.
Is this a magazine available on the news stands? I haven't heard of it.
Dave Hajicek
Dave,
This magazine is available on the newsstands. Richard Brune has been
doing articles about classical (and flamenco) guitars in this magazine
for years. The magazine is mainly a huge collection of advertisements
for guitar dealers (not classical guitar dealers). I guess he publishes
his articles in this rag because there is no better forum for him.
Regards,
John E. Golden
That's kinda sad. There are Guitarmaker magazine, publication of a
luthier's organization.
Kevin Coffey