17 Fret Soprano
- Thread starter Timbuck
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ksquine
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:drool::drool::drool:
Nickie
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Very nice. :drool:
OP
OP
Timbuck
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1/16"= .0625" = 1.58mm
Thanks. I was about the same, maybe a touch less, with American cherry. I posted in a new thread, that now strung up I'm concerned about it being too thin. Can I ask another question? What does your bracing look like?
OP
OP
Timbuck
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Interesting. I made a soprano with 1.5mm redwood top and braced just like this. Sounded great but the top started dishing between the bridge and sound hole. Not a lot but noticeable. Doesn't seem to be getting any worse but it has only been a year.
Now I add 2 diagonal braces that go from the bottom brace diagonally, catching the edge of the bridge brace and extending a bit beyond. This supports the top nicely, but I think on the next uke I shall trim them down thinner and a bit shorter as I think the amount of bracing needed is not so much.
Just my thoughts.
Thanks for that. I had the same issues and the same thoughts for the future. My uke was cherry with a 1.5mm top. I'm adding braces, too. I hope this isn't overkill.
EDW
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Many years back I recall discussions about this happening with some vintage instruments and even some modern builds. I recall some luthiers saying that it was not a problem as long as it was not extreme and that it was sometimes the result of thin tops. The upside was that usually these were very resonant responsive instruments. Perhaps it is a trade off.
OP
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Timbuck
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I have an original 1930's Martin style 0 soprano which I use as a model...and have just purchased another one from the 1940's when it arrives..I'm going to take measurments from both to get a better combined general idea of the construction of these little gems, and I'm also thinking of making a more detailed set of drawings and plans than those available.
I'd remove those two fan braces. Definitely overkill on a soprano.
I build light Sopranos, and if they don't dish a very little they're not light enough.
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Timbuck
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I built a batch of old island Mossman soprano copies ..they had one back brace and two braces at the sound hole and no bridge plate..they all turned out ok....Lite as Feffers as well. 
EDW
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Great attitude. I love light instruments!
That is close to what I did on the next uke, but I do think that was overkill. On the next uke I made both fan braces thinner and finer.
I know that many say a little dishing is ok, and it may be, but over time I am concerned about damage, esp. using a lighter top. I think I will continue bracing this way but will make them thinner in height and width, and possibly shorter until I can find the minimum bracing that supports the top between the bridge and the sound hole with a 1.5 mm top..
If it is a choice between a light top with fan bracing or a slightly heavier top without fan bracing, I would choose the former.
OTOH, I have not noticed any discernible loss in quality with the braces. Perhaps others will comment on that.
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OP
OP
Timbuck
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Some Guitar builders who make instruments with thin tops, go to great lengths to prevent the bridge rolling/rotating under the tension of the strings without affecting the tone/volume. One of the ideas's that has come to be is the "Bridge doctor".
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bazuku
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I am not a commercial builder, nor am I a player, but I am aware that over-braced instruments rarely show their full potential. The old classical guitar builders' adage of “if it's not about to implode then it's over-braced ” has merit. If you are building for paying customers then you can't really build to this rule unless you don't mind doing a lot of warranty work and can bear the potential damage to your reputation.
If building a thin topped soprano for yourself,(if you have doubts about its lasting integrity), you can always shape a light single, central, fan-style brace that fits over the bridge plate and butts up to the lower transverse brace. This can be done soon after gluing on the transverse braces and the bridge plate...but, DO NOT fit the central brace unless the top eventually shows signs of failure. If this is ever required, it is a relatively simple, but fiddly exercise to fit one precisely-tailored and firm fitting brace through the sound hole, providing that you have the patience and the right length clamps.
The smallest sound hole that I have tried this with is 52mm, but can see no reason that (with careful planning and a systematic approach) it would not be possible through a smaller one.
There is good information on fitting, re-shaping and repairing braces through the sound hole on the 'net, although it is mostly targeted towards guitar and hence, larger sound holes.
If building a thin topped soprano for yourself,(if you have doubts about its lasting integrity), you can always shape a light single, central, fan-style brace that fits over the bridge plate and butts up to the lower transverse brace. This can be done soon after gluing on the transverse braces and the bridge plate...but, DO NOT fit the central brace unless the top eventually shows signs of failure. If this is ever required, it is a relatively simple, but fiddly exercise to fit one precisely-tailored and firm fitting brace through the sound hole, providing that you have the patience and the right length clamps.
The smallest sound hole that I have tried this with is 52mm, but can see no reason that (with careful planning and a systematic approach) it would not be possible through a smaller one.
There is good information on fitting, re-shaping and repairing braces through the sound hole on the 'net, although it is mostly targeted towards guitar and hence, larger sound holes.
Interesting, but I would think that this is worse overkill than light fan bracing as it coouples the back and the front together. That just can't be good, can it?
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So if one wanted to brace the soundboard in this area, which bracing system would be considered lighter - the single 'fan style' brace you propose or 2 light fan braces as described. I am thinking the single brace.
However, I used the 2 brace system as I felt that the top between the bridge and the sound hole would still be able to vibrate and that the single brace would stiffen this area too much, but I would love to hear what others may think! Perhaps I made the wrong choice? Does anybody have a link to info on how either of these bracing patterns affect the vibrations of the sound board?
However, I used the 2 brace system as I felt that the top between the bridge and the sound hole would still be able to vibrate and that the single brace would stiffen this area too much, but I would love to hear what others may think! Perhaps I made the wrong choice? Does anybody have a link to info on how either of these bracing patterns affect the vibrations of the sound board?
Paul Bouchard
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I went a tad too thin on my walnut soprano. The sound really fell apart on heavier strumming. I added a single, very light light spruce brace down the middle - not easy to work through that tiny sound hole but it fixed it up pretty well. I used small magnets with plastic cauls to keep things lined up.
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