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Hi gang...Its Jason.. progress on the L-0 is coming along well. My topic,
actually my question is about voicing. Voicing specifically refering to the
arena of BRACING, size, placement, scallops, shape. When a maker
advertizes that a specific guitar is voiced to produce a more bass
responsesive tone out of a guitar.. what is done to the braces. When you
are wanting more mids..more treble... Whatever. This question is directly
related to Scalloped braces. I own a Larrivee....its the most ballacned
thing I have ever heard. Personally I crave BASS. I know this topic can be
talked about for centuries with Luthiers, but any knowledge from you
guys would be very appreciated.
Thanks Guys

Jason,
First, people aren't ignoring you. I think the topic you suggest is just too broad. It's hard to get a handle on the issue because, for many, bracing IS the thing that affects the voice of the guitar. However, all of the components of bracing that you mention affect the tone and they affect it in ways that are hard to predict. There are some generalizations such as scalloped braces give a boomier bass whereas parabolic braces give a more balanced tone. Symmetrical brace pattern seem to give a more balanced tone but others thinks it is less "interesting". These are gross generalizations and many builders find that the opposite seems to be true.

Most builders approach the bracing "problem" by starting with a known bracing pattern and changing it in one dimension only. Ie. moving the braces closer to the sound hole or opening or closing the X. Sometimes the "change" is to adjust the bracing to the physical characteristics of the top. Opening up the X when the cross grain stiffness is weak or closing it when the longitudinal stiffness is weak are examples.

Others, use pre-shaped braces in a set pattern and adjust the thickness of the top to get their final sound. Some, just skip the tuning step all together.

As I said earlier, the topic is just too big.

Mike gave a good generalization here and he is right. The subject is very broad. Too many things to be able to give absolutes. Stiffer bracing makes shorter wave lengths more dominant and looser bracing makes longer wave lengths more dominant. But this statement is fare too general to be of any real use. Voicing is a learned skill best learned via an experienced luthier. To train yourself requires time and careful records. It is very hard to put into words. It has to be a hands on learning process.

In the beginning if you are unable to take instruction. stick to a proven bracing plan and take careful and continuous notes.

Oh and read everything Alan Carruth posts on this issue over and over

On something the size of an L-0, I'd think you'd pretty well need to use scalloped bracing to get strong bass. Just be careful not to make it too low in the bridge area. Fortunately, with such a small body, you can make things light and still have enough stiffness.

You might want to make the body a little deeper, if you can. Don't make the soundhole too big, and if you can sneak it up a little bit toward the neck end, that helps too.

I'd see what I could do to tune the back, at least after it is together. Getting the 'main back' tap tone to be about the same as the 'main top' in pitch with the body assembled and no bridge on the top, will help make the bass fuller, generally.

Yeah, it gets complicated....