Soundboard bracing

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Guitar2ukulele

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So I got to play a co-workers Kanilea Tenor today and was caught by a surprise. These have what I think Kanilea calls the TRU bracing which the horizontal braces do not extend to the sides. Is this common among high end instruments to get that rich sound? It caught me off-guard as I thought those horizontal braces were for stability of the top. Curious to get input on this as I don't know if this bracing has been tested over time.
 
Looking at the picture of their Tru-Bracing system on Kanilea's site it looks like the braces do go all the way across. You have to remember there is kerfing next to the braces. It looks like they are long enough IMO for structural strength but then I am not looking into that tenor in person. I personally build where the braces go all the way across and under the kerfing. I don't believe you need to have this bracing system to get a rich sound. And no it is not common among high end instruments. It's just something new Joe decided to try out. I see he has also drilled holes into them to make the instrument lighter. It's a good thing to keep thinking and trying new ways of doing things. It keeps life exciting. And you might want to make a comparison test. Does the Kanilea sound richer than say a Kamaka or some other high end tenor? And then of course its all relative. What you think is rich might not be for someone else!
 
It's just something new Joe decided to try out.
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It's not so new. Generically it is called suspended bracing; TRU is Kanile'a's version. I use this system in all my tenors. It imparts a warm, round tone. The lateral braces are taller than in fan bracing, and they don't go all the way to the edge of the soundboard. I build with about a 1/4" gap between the ends of the braces and the kerfed lining. the tone bars are attached to the soundboard only at the ends so they form a sort of bridge, and two of the tone bars extend to the upper bout. I use a bridge plate in my design but Kanile'a does not.
 
mzuch said:
It's not so new. Generically it is called suspended bracing; TRU is Kanile'a's version. I use this system in all my tenors. It imparts a warm, round tone. The lateral braces are taller than in fan bracing, and they don't go all the way to the edge of the soundboard. I build with about a 1/4" gap between the ends of the braces and the kerfed lining. the tone bars are attached to the soundboard only at the ends so they form a sort of bridge, and two of the tone bars extend to the upper bout. I use a bridge plate in my design but Kanile'a does not.
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I just learned something new as I thought this was a new bracing system but guess it is just a modification of another style. In your opinion since you use this method, is the top more prone to instability over time since its not being fitted to the sides? I just wanted to make sure as if I do purchase a uke with this bracing, I want to make sure it holds up over time.
 
Untucked non-feather-scalloped(or even full-height) transverse brace end is a recipe for future disaster. I like Kanile'a's tone, tho.
 
In your opinion since you use this method, is the top more prone to instability over time since its not being fitted to the sides?
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I don't think so, but I'll let you know in a couple of years. :D

As a production shop, Kanile'a must be sensitive to warranty risks, and I don't think they would have stuck with suspended bracing if it caused a greater incidence of structural failure. But you'd have to ask Joe Sousa to know for sure.

I've seen versions of this system on steel string guitars using carbon fiber braces. If not being tucked under the linings can withstand the tension of six steel strings, I see no reason why four nylon strings should create a problem. IMO, the bracing patterns in most ukes are based on what traditionally has worked in guitars, which ukuleles are not.
 
Actually, I am doing it. My previous posts reflect my experience, limited though it may be. Rick and Chuck, if either of you has a constructive comment rather than a snarky one, I'd love to hear it.
 
mzuch said:
Actually, I am doing it. My previous posts reflect my experience, limited though it may be. Rick and Chuck, if either of you has a constructive comment rather than a snarky one, I'd love to hear it.
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Anti snark reply:

I've actually tried this kind of bracing and guess what? It works! No surprise there. But after building a dozen or so I found that it works no better than the fan or X-bracing that I've also tried. I usually try to mix things up when I'm bored but I always seem to go back to the basics. Personally, it doesn't matter to me how my ukes are braced. The bottom line for me is proper deflection across the top which I carefully measure and map. Bracing is a part of this but for me bracing can be any style or combination of styles while working with top thickness. As long as the tops are deflecting the way I want, then I get the results I desire, both sonically and physically. I only found this out by building a zillion ukes. It works for me but I'm not going to convince anyone else of this. Nor have I ever tried.
 
mzuch said:
If not being tucked under the linings can withstand the tension of six steel strings, I see no reason why four nylon strings should create a problem.
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It obviously works for Mya-Moe
 
Way too sensitive...

Just make ukes. Make a s** load of them. Then you'll know what works for you.

And a well glued brace will not pop loose just because it's not tucked. Funny thing...years of repair experience talking here...tucked braces may not pop loose, but they may split. We can't build for every disaster that might happen. We can build for tone, though...
 
On a slightly related subject, is it preferable to notch out the tonebars so that they fit snuggly and are glued to the bridge patch, or would it be ok to notch them out so that they are suspended above the bridge patch without touching it?
 
Why would you not glue the fan braces to the bridge patch?

Do you really need a bridge patch?

How complicated can we make uke building?

I think uke should have the least amount of bracing possible done as well as possible. Find the weaknesses in your ukes and redesign appropriately as needed. I've only added what proved to be necessary...for instance 5 fans in floppier tops, back to 3 when I can. I've not seen a need for bridge patches in my standard bridged ukes, but when I build with strings coming through the top, I use bridge patches. If you want some bang for the buck with minimalism, graduate your tops a bit...thin 'em out at the edges.
 
On a tenor I built last year I held the cross brace at the waist back from the kerfing maybe 5/16". Guess where that top failed. I've tucked them under the kerfing ever since. Old saying "the burned hand teaches best"
 
Tuck the transverse braces, don't tuck the fan braces. Use the best spruce you can find for the bracing, keep them light and strong, and don't over brace the top or back. Just do it and you will come to understand what works for you.

Don't try to re-invent things like braces that have holes in them, past on top or below other braces or float and do nothing. You aren't build a highway system, just a functional uke.
 
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