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So, one more question:

What are people's thoughts on a longer-than-normal scaled guitar (namely 26.5" scale length)? I'm considering using this longer scale for the medium-jumbo I'm making a friend, because he almost without fail tends to use dropped tunings. I'm thinking it would move the bridge lower (although I've already got a 'high' waist, so...), more like a 12-fretter, and give a little added definition to the lower notes. I would string 'er up with lights at this point though. Is there much of a point there?

Oh, and as to soundhole placement: is it generally just the half-way point between the edge of the body and the saddle location?

I'm all full of questions today, aren't I?

Mattia....
...you could do a 15 fret to the body neck and keep most everything else in "normal" postion. Same as a number of baritones with the 27.5 scale.
I've done a 13 fret to body 000 (12 fret normally) when we went to a longer scale for the customer's request. Worked out fine, especially for those dropped tunings.

By the way...did you get the redwood yet???

OR...(thought of this just as I pushed the "Send" button)...
if it's a non cutaway body, just cut off one of the upper frets...instead of say 20 frets, shorten the fingerboard to 19 frets and keep everything near original locations/dimensions. Only the bridge would need to move down a bit; soundhole could stay pretty much in same position.HankMauel38384.6834837963

Right..well, the sonudhole location hasn't quite been defined yet. I've got the body shape drawn, and a few sketches of where it would sit (same place as on my other acoustic) if I didn't increase the scale length. I'm mostly wondering if there's a 'magic' location for soundhole centres, and how that's determined (I can't find my copy of C&N, might be in there, but I don't have it). I have to design the bracing around it anyway.

All my bodies are non-cutaway (right now, they kinda scare me, I find it difficult to draw/design ones I find aesthetically pleasing, and I've fairly consistently preferred the sound of non-cutaway guitars) so a 15-fret to body join might come in handy for improved upper fret access.

Hmm...food for thought. I'm going to talk it over with my friend, see if he's got any more details on what he'd use the guitar for...

As to the redwood, nope, nothing yet. It'll have been 2 weeks today, so hopefully it turns out real darn soon! I'm not too worried yet, as the "4-10" days tends to turn into "more like 10-15" in my experience of USPS shipping. Probably being held up while it clears customs, which takes a couple of extra days..Mattia Valente38385.1382060185

Hello Mattia! On the baritone that I?m building now with a 28.3 inch scale, I join the neck on the 15th fret, Soundhole placement is 3mm down compared to normal scale. The X moves about 1cm down, because to get the bridgeplate in the same dimensions.
Easiest way to check these things is to draw a plan ( thats the way I do).

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http://www.hl-guitars.at

Thanks! I've gone to a 16th fret join on the baritone I've got almost built (28.6" scale, something like that).

I'm still not quite clear on whether there's a 'normal', standard position for soundholes, and what it's relative to (a fret? Edge of body?).

I just don't think it's that critical to the millimetre. The important thing is to establish the bridge position, I like to get my bridge down the lower bout into the "sweet" spot (that'll fix the frets to the body), then you can lay out the braces and just stick the soundhole where it fits best against the end of the fingerboard. Always work from first principles. Harald's right, just draw it up full scale.

ColinColin S38385.3854976852

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I don't believe in anything, I simply make use of a set of reasonable working hypotheses.

Oh, I will (and always do) draw things out full-scale. Always. Too much can go wrong even with a nice set of plans.

Anyway, I gather precise location of the soundhole centre is a bit of a 'whatever you feel like' issue.