Confusing bracing in Martin concerts

In my Martin concert from the 1950s there are two braces under the top, running from the transversal near the soundhole and fanning out to the perimeter near the endblock, a few inches apart.

I recently bought a new Martin c2k and was surprised to find only the transversal brace under the top. No fan braces. The sound is powerful but it lacks a bit of that clear treble I hear in the older Martin concert.

Now I wonder if this is the way Martin builds all their concert ukes today.
I do not worry about the instrument's structural integrity, just the change of tone.
Any observations from you guys with the new Martin concerts?

My made in Mexico Martin C1K does not have any bracing beyond the transverse bars near the soundhole. The Martin's top is noticeably more thick than the top on my new Koaloha concert, and that ukulele doesn't have any fan braces either. Both concerts are quite loud for their size, and I've seen tenors without any sort of fan bracing as well.

I was watching a documentary about bridge building a couple years ago. A bridge designer was being interviewed, and he was discussing new methods for designing some rather large modern bridges. He said anyone could design a strong bridge, but the trick was to design one just strong enough. It seems that bridges that are designed to move a bit, hold up better to wind, traffic, and time.

Contax2a said:

In my Martin concert from the 1950s there are two braces under the top, running from the transversal near the soundhole and fanning out to the perimeter near the endblock, a few inches apart.

I recently bought a new Martin c2k and was surprised to find only the transversal brace under the top. No fan braces. The sound is powerful but it lacks a bit of that clear treble I hear in the older Martin concert.

Now I wonder if this is the way Martin builds all their concert ukes today.
I do not worry about the instrument's structural integrity, just the change of tone.
Any observations from you guys with the new Martin concerts?

Click to expand...

Your vintage Martin is Mahogany and the new one is Koa, they should sound different.

Tone: My Martin had Martin soprano/concert M600 strings when it was purchased. It was transformed by Oasis strings, and now has more volume. The entire instrument is more resonant now, and clarity is not lacking at all. This uke rings all day.... The stock Martin strings just aren't up to the task when reaching for the instrument's true potential IMO.

My vintage Martin concert tops are braced with the two transverse braces and two braces running perpendicular to them from the tail block to the transverse brace under the sound hole. The vintage Martin tops are thin as compared to the newer ones. I do believe the sustain on the vintage ones is a bit less and the sound is mellower as compared to newer mahogany concerts. I'm not certain that dimensions are quite the same. I only have vintage ones, but I have played quite a dew newer ones. It just seems that the body is a little bigger on the new ones and the scale length is a bit longer.

@Contax2a: I'd really appreciate it if you could confirm or refute the measurements. A larger top and longer scale length would seem to make for a louder instrument. Also, I'd recommend following FrankB's example; if you have the M600 soprano/concerts on your concerts, I'd consider changing them. I find that the M600 sound great on sopranos, but can sound a little thin on concerts.

The Koaloha has their special uni brace. I'm amazed that the thing is adequate, but mine seems to be. The result: loud.

Thanks for input. Oh, I'm fully aware of differences in tonal response in different kinds of wood. I was worried by the change of bracing. So far, I have noticed a tad more powerful output and a loss in tone balance in the new instrument. The treble seems to drown in the barking other strings, which is disadvantage for my way of playing. Still a good instrument, of course. Has anybody heard the Martin company explain the change in construction?

hmgberg said:

: I'd really appreciate it if you could confirm or refute the measurements. A larger top and longer scale length would seem to make for a louder instrument.

Click to expand...

@hmgberg: I'm sorry I can't help you with facts. The vintage Martin is with me in Europe, the new one is left alone in California. But I didn't notice any difference when playing the instruments.
Thanks,
Mike

Contax2a said:

The sound is powerful but it lacks a bit of that clear treble I hear in the older Martin concert.

Click to expand...

I only have a 1950 Martin concert, not a new one, but what you say certainly does pertain to old versus new Martin sopranos that I own. I think (and this might, respectfully, be the opposite of Howard's thought on sustain) that the older Martins have a much more treble sound (as Ctax mentions) and a longer sustain than the newer ones. No doubt about it (Howard, I may have mis-read your post; my older ukes are still ringing when I hang them back on the wall lol).

And to Skinny's point, koa definitely (to my ear...lol) has a more mellow, and people hate to use the word but I will: muted, sound than the mahogany ukes. So, because of that difference in the ones you own, even knowing this difference as you say, Ctax, I doubt you will be able to separate the effect of the koa versus the effect of different bracing in your ukuleles. There's just no way to tell what is affecting what.

I think the newer Martin sopranos are distinctly differently built than the older (1950s and prior) Martins, not only in the obvious (like Martins all having a long fretboard now), but also in neck thickness, weight of instrument (big, big difference: I have weighed them)...so wouldn't surprise me if the bracing was different. Sorry that I don't know the precise answer to your query, but I agree with the concept, certainly.

It is really quite simple, don't compare new instruments with older instruments. Everyhting is different: the woods used, the age and quality of the woods, the construction, and even the builders. Even if you had a room full of older and newer Martins, they are all going to be slightly (and sometimes not so slightly) different from each other. Don't exspect newer instruments to have the quality of sound that an older one has. If you don't like the new instrument you bought, send it back and get another, maybe better, maybe worse. Its all subjective anyway.

Low G string for a C1K

Hi Frank, I live in Australia and was interested to hear about the OASIS strings for a Martin. I have a Martin CK1 and I am looking for a low G string for it. I had one of those red ones but it only lasted 6 months. I am very keen on finding a good string for it, as I like to play jazzy music. 1. Would you be able to recommend a good non wound (I assume this is what it should be) low G string for my C1K and perhaps 2.suggest a good supplier in the states that would post it to me. 3.Would these OASIS strings also improve my C1K? Although its sound, with the Martin strings, is gorgeous and loud as it is, I wonder about that potential IMO you are talking about or is that only for the C2K? 4.What is IMO? My Martin C1K is my third uke and I feel I have the best, except for a higher level one of course! Also please, 5. how do you find the Martin sopranos? 6.Which is the better one?
Thanks,
CBR

IMO= In My Opinion.

I never used a low G string on any uke. The Oasis strings have better volume, more body, and sound less brittle than the Martin strings. I tried Worth strings on the C1K, but they lacked the clarity of the Oasis. Oasis offers a low G set.

Thanks again Frank