Replies to This Discussion

Permalink Reply by Dave A on January 30, 2016 at 3:42am

I was thinking the wood blocks are too large too. I have them glued in so I will know better on the next build. I also tried a bridge I have on another one it you are right. It brought it to life. Thank you! As far as bridges go, is something like I have on here better than a bolt and nut I see many use?

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Permalink Reply by Kigar on January 30, 2016 at 4:47am

I found an improvement going from a bolt to a wood bridge cut in a simpler version of a violin bridge.  A gap in the middle seems to help spread the load to the sides.  The things I read said a bridge should be light but stiff to transmit the string energy to the top.

Also it is not clear if your thru neck touches the top or not, it should be relieved a little if it is not.

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Permalink Reply by Cause the Blue rat on January 30, 2016 at 9:02am

Get rid of the sound hole cover.

Longer, more F-hole like sound holes. They don't have to be fancy. Straight cuts without curves work too. If your going to use a round sound hole, try putting it under the strings. 

Agreeing on the blocks of wood. Use three small blocks along the closing end. maybe no more than 1/2x1/2 inch. One in each corner. One in the center. 

Try adding a bass bar. Like those found in violins. If you have room for it inside the box. 

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Permalink Reply by Kigar on January 30, 2016 at 11:39am

I have wondered why violins use a bass bar and others don't, did you see a big effect? 

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Permalink Reply by Kigar on January 30, 2016 at 1:50pm

On a violin, it is a post under the bass side of the bridge between the soundboard and bottom of the body.  Could be on other instruments too but I don't know.

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Permalink Reply by darryl kernaghan on January 30, 2016 at 2:29pm

My understanding of a sound post in a violin is to increase sustain more than volume,a couple of light soundboard bracings in your c b g is good way of improving sound board effect,and easily removed if you want

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Permalink Reply by Kigar on February 2, 2016 at 1:10pm

I read up on this a bit and what I found out is a bass bar is like a brace that runs parallel to the neck and it approximately aligned with the bass side of the bridge.  A sound post is what I described above, it is on the opposite side of the bridge and creates a solid connection for the bass side of the top to pivot about.  Darryl was right, sorry I misstated it.  Lots of deep theory around both but it appears all violin people agree the sound is better with both of these in place.  It is also thought it is important in a instrument played with a bow as the strings mostly move side to side.  Tons to read and digest if it strikes a chord (pun intended).

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Permalink Reply by Rooster on January 30, 2016 at 2:28pm

I have noticed in my builds that if I don't close off the areas inside the box with the neck that I get more sound out of it. I can't really tell from the pics, but it looks like the neck may be creating two separate areas once the box is closed if it is tight to the top and bottom. If that is the case you may try opening the two areas up so the sound can escape from both sides of the neck. Maybe some of the more experienced builders can shed some light on this ;-)

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Permalink Reply by Ron "Oily" Sprague on January 30, 2016 at 6:16pm

More sound?:

1) Less corner wood blocks; you only need about 3/4" square)
2) Ditch the sink strainer
3) Higher bridge / saddle
4) Add 2-3 degrees neck back angle
5) Smaller soundhole
6) Either relieve the neck from the top, or make sure it's coupled to the top along its entire length inside the box
7) Don't worry about the bass bar; the box is really skinny, You're playing slide, not Paganini.
8) Consider a neck-to, instead of a neck through, or even a bolt-on neck, on your next build.
9) Try an Uncle Crow build, with the neck attached to the top outside of the box.
10) Try running the neck along the narrow side of the box (I know, weird, shouldn't work, but on certain boxes it seems to).
11) Don't overthink it.
12) Electrify it with a piezo or mag pup.
13) Strum harder
14) Sing softer
15) Use a heavier pick
16) Use a heavy slide
17) Use heavier strings
18) Move your bridge about 2" closer to the headstock
19) Use a footed bridge (like a mandolin or violin)
20) Use a denser neck hardwood like oak or mahogany. Or metal.

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Permalink Reply by jim on January 30, 2016 at 6:37pm

Less is more

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Permalink Reply by Ron "Oily" Sprague on January 30, 2016 at 6:46pm

More or less. ;-)

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Permalink Reply by Moritz Voegeli on January 30, 2016 at 9:14pm

as the question is about getting more sound from an acoustic cbg there are three basic principles you can start from: (1) top and bottom of the box should vibrate free without obstruction, without masses attached to them; just holding a cgb off of your waist will produce more sound and sustain; (2) anything that is inside the box reduces sound quality to some extent, even a neck that goes through the box yields somewhat  less sustain; (3) if the angle of the strings on the bridge is near to 180 degrees there is low pressure through the bridge to the top of the box and low transmission from the vibrations of the strings; (4) you will have to make compromises...

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