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Wow... alot of good info there, a little more than a newby like me can wrap my brain around. I "assume"...( yes I know...)
that the sound "bowl" or cone is facing out-towards the strings... I got lost at mounting the cone ONTOP of the box w/ a hole under it... does this mean there is no cone INSIDE the body? And is the cone mounted ONTOP basically acting as the decorative outter cone as well?
Yall have to remember- alot of us are just starting at this- some of the terminology doesn't mean much to folks who arent luthiers full-time.
Thanks for your patience and assistance....
kp
And example of mounting the "cone" on top would be using a paint can lid as a resonator. I put "cone" in quotes because, of course, it's not cone shaped but flat.
You cut a hole in the box just a bit smaller than the paint can lid and set the lid down over the hole. The bridge sits on top of the paint can lid. This works - although maybe not as well as a spun aluminum cone - and preserves maximum (spacial) volume in the box.
You can also unroll the side of an aluminum Coke can, cut to shape and glue it over the hole - sort of banjo meets dobro - for a thinner and more responsive resonator.
Using a cone-shaped cone on top of the box would result in a very high bridge and you'd have to deal with that in the neck design, but it would work (but look pretty ungainly IMO).
kelly pratt said:Wow... alot of good info there, a little more than a newby like me can wrap my brain around. I "assume"...( yes I know...)
that the sound "bowl" or cone is facing out-towards the strings... I got lost at mounting the cone ONTOP of the box w/ a hole under it... does this mean there is no cone INSIDE the body? And is the cone mounted ONTOP basically acting as the decorative outter cone as well?
Yall have to remember- alot of us are just starting at this- some of the terminology doesn't mean much to folks who arent luthiers full-time.
Thanks for your patience and assistance....
kp
The resonator, whatever it is that you use, must be driven by the energy of the strings. Essentially, it's a mechanical speaker, rather than an electric one.
That means it has to be of sufficiently light material to vibrate under the vibration of the strings. That's why materials like spun aluminum are used in commercial models; very light, very stiff, and easily picks up the energy of the strings.
Then, the sound waves produced by the resonator have to get out of the box. You can nest the resonator inside another cone facing the other way, with the soundholes arranged to project these sound waves out. The guitar body will, of course, vibrate to some degree as well.
A simpler design is to have the cone of the resonator facing "down", but spaced away from the back of the guitar by some sort of spacers. The sound waves bounce off the back, and then out through the cover and soundholes.
(see my pics for a fairly typical design)
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