Hi, I  am making my first guitar box out of local timber, 250 x 200, and wondering what depth it should be as a starting point?  Our acoustic guitar is 110mm deep, by comparison.


The local hardwood  timber for the neck is 40 x 19 ( +/-1mm), but I  can plane that to a different dimension if necessary.

Do you recommend a rebate on the top and bottom of the box for the 5mm thick base and lid to fit in? Might look neat, but takes up space inside the box.

Nothing is set in concrete, will to have a go as long as it sounds nice and looks nice :)

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Hi JillB, I like your style, you sound like my son, the person I made the video for, and the makings of a CBG in parts as a teaser to get him interested. He built the one I sent him and was so overcome with the challenges of "doing it better" he only built four CBGs before he turned his hand to making acoustic guitars. He now has a fully set up woodshop, and he also inherited half my collection of textbooks.
Try this, it should satisfy you till tomorrow. Haha 

http://www.phys.unsw.edu.au/music/. Should get you started. Oh, and keep in mind that depending on the timber used for the top, 5mm might be as thick as you may want to go. Enjoy, Taff

Thanks for this link, Taff, I  am in my 7rth heaven  with the page on Guitar Acoustics. All from my old alma mater too where I studied Electrical Engineering all those years ago (50+). Small world.

I used to do a bit of travelling wave study  for damping of vibration on power lines.This brought back memories. The worst case was a steady gentle breeze that really got the vibrations going, so we had to determine where to put the dog-bone style dampers on the conductors.

I  am still thinking where the best theoretical location of a bridge would be, and hopefully I can find some relevant info on this discourse of travelling waves and standing waves etc.

We are all looking forward to your video :)

Thanks again, Taff

Hi, seems like I/we are moving away from the KISS principle of Cigar

Box Guitar building and I don't think for a moment that this is all that important to get a sound out of a small box, an instrument made of found materials. But it's an interesting subject. JillB talking of sound and small boxes, check out the work of Carleen Hutchins.
Cheers Taff

Nice and timely reality check there for me, thanks Taff

Hi jillB,
Quote
hi Brian, what do you think is a good position for a bridge please? How do you find it?

Hi JillB, what I would try is to build the box, top back, and neck fitted [can be temporary] string up and with a movable bridge start at one end, tail, and move towards the centre whilst strumming. I would do this with no bracing under the top and a soundhole installed. This will indicate the most responsive area. The thickness/responsiveness of the top and back also contribute to the output.

Then you will have to select a scale length that incorporates that position for the box.

Did you check out Carleen Hutchins's work?

Cheers Taff

"Did you check out Carleen Hutchins's work?"

Since the links I found on this website pertaining to her no longer pointed to info about her, here are some more:

https://www.nytimes.com/2009/08/09/arts/music/09hutchins.html

https://acousticstoday.org/historical-biographies-in-acoustics-carl...

Biography

https://www.amazon.com/American-Luthier-Carleen-Hutchins-Science/dp...

Pretty amazing woman!  I can see CBG tops being sprinkled with glitter & vibration tested.  :)

Hi Carl,

Quote: I can see CBG tops being sprinkled with glitter & vibration tested. :)

Haha, possibly no need for that carl. I know you jest. But some members have commented on the method of "tapping" in order to judge the response of their tops..albeit on dog bowls and the like when assessing suitability for a Reso build. I wonder who does it to judge wood top quality.

I use the glitter and frequency generator method to tune my acoustic guitars during the build, but mainly tapping gives me feedback that I can better understand, but I don't do that on a CBG.

I use brass filings instead of glitter.
Cheers Taff

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