Hluth
Well-known member
Neck Block Size
These pictures show two very different tenors I’m working on. One has a large “neck block” and the other has none at all (hard to get any lighter than that). There is a school of thought that says too heavy a neck block adds weight and adversely affects the sound. When these two instruments are done, they are actually going to sound about the same—but for reasons other than the size of the neck block. I’ve made over a hundred of the larger block “ML” instrument and if I said they sound great it wouldn’t be too believable. (Doesn’t every luthier think their instruments sound great?) But the most consistent feedback I get from my customers is that The ML’s have become their go-to ukulele, including those who also have other high-end ukes.
Building light doesn’t necessarily mean building the whole instrument light. The neck block area is probably the most forgiving when it comes to weight, and in the case of my ML’s, I’ve taken advantage of that to back up miter joints and form a neck pocket. (The basswood block is actually lighter than it looks). This configuration also moves stiffness inward beyond the heel and around the sound hole where it is needed most. The other uke pictured is a totally different approach that uses a more efficient body shape. Good design is the simplest solution for a given need (think paper clip), and this design meets that goal. Instead of using a block, the neck is laminated to the sides and bracing around the sound hole is anchored to the resulting double wall shown in the drawing.
Back to why they sound good. It’s simply the result of more sound board real estate. Both these ukuleles are 10” wide with the waist brace moved further forward than usual. This makes for a tone with a little more sustain that’s better at translating higher string partials. I like these designs, but realize that nothing is ever the best it can be; there’s always room for improvement, and that’s what makes it interesting.
These pictures show two very different tenors I’m working on. One has a large “neck block” and the other has none at all (hard to get any lighter than that). There is a school of thought that says too heavy a neck block adds weight and adversely affects the sound. When these two instruments are done, they are actually going to sound about the same—but for reasons other than the size of the neck block. I’ve made over a hundred of the larger block “ML” instrument and if I said they sound great it wouldn’t be too believable. (Doesn’t every luthier think their instruments sound great?) But the most consistent feedback I get from my customers is that The ML’s have become their go-to ukulele, including those who also have other high-end ukes.
Building light doesn’t necessarily mean building the whole instrument light. The neck block area is probably the most forgiving when it comes to weight, and in the case of my ML’s, I’ve taken advantage of that to back up miter joints and form a neck pocket. (The basswood block is actually lighter than it looks). This configuration also moves stiffness inward beyond the heel and around the sound hole where it is needed most. The other uke pictured is a totally different approach that uses a more efficient body shape. Good design is the simplest solution for a given need (think paper clip), and this design meets that goal. Instead of using a block, the neck is laminated to the sides and bracing around the sound hole is anchored to the resulting double wall shown in the drawing.
Back to why they sound good. It’s simply the result of more sound board real estate. Both these ukuleles are 10” wide with the waist brace moved further forward than usual. This makes for a tone with a little more sustain that’s better at translating higher string partials. I like these designs, but realize that nothing is ever the best it can be; there’s always room for improvement, and that’s what makes it interesting.
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