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[QUOTE=crazymanmichael] would you care to elaborate on your assertion that string spacing determines where the nut and saddle need to be for correct intonation?[/QUOTE]
Michael,

I surely will - although in my post I didn't say anything about the nut, just the saddle.

I draw a line from nut to saddle and beyond for each string. I know from the scale length, string gauges and likely tunings I will be using what length in addition to the pure scale length I need the string to be at the saddle break point (based on trial error and experementing). I mark this point on each string and join these up. I then decide if I will need one saddle or a split saddle, and the correct angle to route the saddle slot on the bridge an also on how long the slot(s) will be after the saddle goes past the outer strings the desired distance.

Given I make a range of instruments from guitar-bouzouki, guitar-cittern, guitars, baritones, Weisenborns (which don't need any exrea for intonation) this comes out differently and I have jigs made for cutting the various saddle slot angles.

_________________
Dave White
De Faoite Stringed Instruments
". . . the one thing a machine just can't do is give you character and personalities and sometimes that comes with flaws, but it always comes with humanity" Monty Don talking about hand weaving, "Mastercrafts", Weaving, BBC March 2010

Great thread!  In my case, I used plans for my first and am using them for my second.  That way I know it is something I did or didn't do if they do not play and sound right.  After I know I can build a guitar I can then try different improvements on what I have.

Kirby

I used plans for my first, and my second build is from plans I designed myself. It's a great learning curve in accuracy and creativity.

[QUOTE=Arnt] the most important part of it; the concept part.   there has to be an idea that you focus your design around first. [/QUOTE]

Excellent point, Arnt. I'd be very interested to hear, if you can verbalize it, what you're _concept_ has been for an instrument you've designed. In other words, what, exactly, does "concept" or "idea" mean to you, using the example of a specific instrument concept you've come up with and developed?

Design is also at least half the fun for me. I don't think of it so much in terms of "improving" the guitar, but just being creative with this art form -- something I honestly cannot help doing; I'm wired for it, I'm driven.

Which is not to say that I don't think about improvements at all in the elements I incorporate into my designs. For example, IMO, adjustable necks are a big improvement over traditional neck joints. For another example, IMO (yes, it's just my opinion, no offense intended), most common guitar shapes are pretty clunky, so there's plenty of room for "improvement" there. But, in terms of sound, I don't really expect to design a "better" sounding guitar than all the great guitars already out there, old and new. On the other hand, nor do I feel constrained by any need to make my guitars sound as much like a prewar Martin (or whatever other preconceived "holy grail" sound) as I can. I'm happy if my guitars sound great, and different.

_________________
Todd Rose
Ithaca, NY

https://www.dreamingrosesecobnb.com/todds-art-music

https://www.facebook.com/ToddRoseGuitars/