HI Dave,
I'm not trying to be a smart ass. I just don't get it, if the is no difference or negative effect why do it?
Laminated sides
-
Woody OKeefe
-
deadedith
Re: Laminated sides
I was talking about 'sound' - I'm not sure there is a difference in sound, though the case has been made that since the laminated side is much stiffer, it is a more efficient way to couple the plates.
The reasons for doing it, other than much improved stiffness, is the ability to bend highly figured or even flat-sawn woods, easily and with almost no chance of breakage during bending - which also uses no heat - and great crack resistance during the life of the instrument.
All very good reasons to use laminated sides.
The reasons for doing it, other than much improved stiffness, is the ability to bend highly figured or even flat-sawn woods, easily and with almost no chance of breakage during bending - which also uses no heat - and great crack resistance during the life of the instrument.
All very good reasons to use laminated sides.
-
Woody OKeefe
Re: Laminated sides
Thanks Dave, I get it now.
-
deadedith
Re: Laminated sides
I gave a number of reasons I've found for saying "Yes!" to laminating. There are a million opinions on every single thing in lutherie! Here are a few from the web, just google the subject and read until your eyeballs fall out - and in the end, you just have to make up your own mind. But clearly, top-tier luthiers do use laminate, and have compelling reasons.
As always, Rick's contribution is well thought out and to the point. I happen to disagree with some of what he say, but then, he's Rick and I've only built 10.
Bogdanovich:
In a set of guitar sides one of the most important characteristics is stiffness. Laminating the sides of your guitar will produce stiffer sides than a solid piece of wood steam bent as described above. Also, steam bending is difficult to repeat accurately. Therefore, if the shape of the guitars sides differs from the ideal (drawing) the amount of volume (cubic inches) inside the box will change as well. Changes in the size of this space from guitar to guitar will have an effect on the resonance of the cavity which may produce inconsistent results acoustically.
By laminating you are in effect removing a heavier wood and replacing it with a lighter wood which will reduce the weight of the instrument. On a classical guitar this is an added benefit. The laminated sides will also be more stable over time and less prone to
cracking.
Oberg guitars:
This guitar has sides laminated from 5 layers of Brazilian rosewood. This method results in sides that will never crack and are very rigid. The back is laminated from 3 layers of Brazilian rosewood.
Deerhead guitar:
M any of Breslin's classical and flamenco guitars utilize laminated sides, designed for extra strength and stiffness, maximizing the amount of energy transmitted between the soundboard and back. Lamination also helps prevent side cracks, especially when Brazilian rosewood is worked at such low tolerence levels.
Klepper:
I build with very rigid sides. In most cases I use a double side--two layers of wood laminated together. The inner layer is usually mahogany, but in some cases will be walnut or East Indian rosewood. These double sides should not be confused with the plywood sides used on some factory guitars. The double side method is used, for example, on the guitars of the renowned classical maker Daniel Freiderich, and on the most expensive classical concert model made by Jose Ramirez. Once the sides are laminated, they will hold their shape without being clamped into a mold. They are far more resistant to cracking than a standard side
As always, Rick's contribution is well thought out and to the point. I happen to disagree with some of what he say, but then, he's Rick and I've only built 10.
Bogdanovich:
In a set of guitar sides one of the most important characteristics is stiffness. Laminating the sides of your guitar will produce stiffer sides than a solid piece of wood steam bent as described above. Also, steam bending is difficult to repeat accurately. Therefore, if the shape of the guitars sides differs from the ideal (drawing) the amount of volume (cubic inches) inside the box will change as well. Changes in the size of this space from guitar to guitar will have an effect on the resonance of the cavity which may produce inconsistent results acoustically.
By laminating you are in effect removing a heavier wood and replacing it with a lighter wood which will reduce the weight of the instrument. On a classical guitar this is an added benefit. The laminated sides will also be more stable over time and less prone to
cracking.
Oberg guitars:
This guitar has sides laminated from 5 layers of Brazilian rosewood. This method results in sides that will never crack and are very rigid. The back is laminated from 3 layers of Brazilian rosewood.
Deerhead guitar:
M any of Breslin's classical and flamenco guitars utilize laminated sides, designed for extra strength and stiffness, maximizing the amount of energy transmitted between the soundboard and back. Lamination also helps prevent side cracks, especially when Brazilian rosewood is worked at such low tolerence levels.
Klepper:
I build with very rigid sides. In most cases I use a double side--two layers of wood laminated together. The inner layer is usually mahogany, but in some cases will be walnut or East Indian rosewood. These double sides should not be confused with the plywood sides used on some factory guitars. The double side method is used, for example, on the guitars of the renowned classical maker Daniel Freiderich, and on the most expensive classical concert model made by Jose Ramirez. Once the sides are laminated, they will hold their shape without being clamped into a mold. They are far more resistant to cracking than a standard side