www.classicalguitars.ca

Handmade
Classical Guitars
by
Fritz Mueller

Details . . .

Soundport

Soundports (or acoustic ports, as they are also called) typically are circular holes cut into the sides of a guitar near the neck. They are a relatively new concept with some subtle but very real acoustic advantages.

Soundports function something like the soundhole in that they work in partnership with the inner air resonances of the instrument to release sound from the instrument. But the sound that comes from the port is primarily (if not entirely) for the player’s benefit, allowing the player to hear the sound of the guitar more completely. In modern, highly projecting guitars, this is particularly beneficial.

Soundports on the sides near the neck have little or no effect on the sound that the audience hears at the front of the guitar. This is perhaps surprising and somewhat counterintuitive, as most people (myself included) initially think that there would be a loss of sound. This is easy to test, however, by covering and uncovering the soundport while playing.

But if there is no effect on the sound for the audience at the front of the guitar, there is a definite and positive effect for the player, who can now hear much more easily and completely the sound of the instrument.

For some time I have cut soundports into the guitar on both sides of the neck, as have several other builders, including Bob Ruck and Kenny Hill. At Randy Reynolds’ suggestion, however, I now cut a single large soundport (total area is the same) on the side nearest the player. This is a subtle improvement, with less sound energy lost in the direction of the floor.

The interaction of a soundport and the internal air resonances is very complex, and we are no doubt just beginning to learn how they work and how we might make them more effective. Those with an interest in experimental instruments and air resonances may enjoy reading about Carleen Hutchins’ experimental violin Le Gruyere (think cheese!), which has a series of holes in the sides around the entire instrument. In her tests, Carleen blocks the unneeded holes with corks.

When you commission a guitar, there is no extra charge for a soundport, should you wish to have one added to your instrument.

[Further thoughts, November 2004: At the recent Guitar Foundation of America festival in Montreal, a player commented that he had a guitar at home (maker?) with a single, very large soundport on the side at the highest part of the upper bout (directly under his chin). He said that in some halls the sound emanating from the soundport would reflect off the ceiling, with a very positive effect for both the player and the audience. If other players (and audiences) have had similar experiences, I would appreciate hearing about them.]

Armrest

The idea of adding an armrest was suggested to me by a player from Texas, who sent me photos of one of Greg Smallman’s instruments with its integral armrest.

An armrest provides three primary benefits: it lessons damping of the top caused by the right forearm; it is potentially more comfortable for the player; and it absorbs the wear to the finish that would otherwise happen on the top, the binding, and the side. These benefits are of particular importance for ultra-thin-topped instruments, such as Smallman’s, but will subtly improve any guitar, including double-tops.

I make the armrests for my instruments from several thin layers of wood laminated into a curve to follow the side and into an arch that is positioned slightly above the top. The armrest in the photo is made of ebony, but they can be done in any hardwood. Snakewood is particularly attractive, especially when used in conjunction with snakewood bindings and tuner knobs. The armrests are fastened to the guitar with five thin wooden dowels. The fastening is reversible by a luthier, but from the players’ perspective it should be considered permanent. The armrests have an oil finish, similar to the finish on the bridge and fingerboard.

For those who are interested in an armrest, there is no additional cost as long as the armrest is part of the original construction of the guitar. Wood selection includes ebony, snakewood, and Indian, Madagascar, or cocobolo rosewood.

Access panel

I now include removable access panels on all my guitars. They give at least three primary benefits: access during construction and voicing of the instrument; access to the interior of the guitar if repairs are ever needed; and access to the interior of the guitar for amplification. The removable panel can also be used as a platform for electronics, if desired.

Some types of instruments, such as violins and lutes, can be disassembled relatively easily and a removable panel would offer only a small advantage. Guitars, however, are constructed quite differently, and can be taken apart only with great effort, meaning that the only practical access to the interior of the instrument is through the soundhole, a nightmare for those of us with oversize arms.

Removable panels are not new and have been around from the beginning. Twenty years ago a Michigan luthier, Abe Wechter, developed a tailblock door (which he apparently patented) that was my first introduction to the possibilities. Richard Schneider and other builders later used Abe’s door on their instruments, and given the advantages, it’s a wonder that all high-quality guitars don’t have something similar.

I have developed my own system for a removable access panel, which I now offer in three configurations. Like Abe, I locate the removable panel at the former location of the tailblock.

1. Setscrews are visible and accessible from the outside with a small hexagonal wrench. This is the configuration shown in the photo, and is probably the version that most people should choose, since it permits quick and easy access to the interior of the guitar by anyone.

2. Setscrews are accessible only from inside the guitar, which gives the instrument a more traditional appearance, but means that probably only a luthier or repairman will be able to remove the access panel, should it ever be necessary.

3. This is a variation on configuration 2 and gives the most traditional appearance, but also the least ease of access. Here the panel is held in place with hide glue (there are no set screws) and can only be removed when heated. Replacing it will require re-gluing and probably will involve some touch-up to the finish.

The removable access panel has no effect on the sound of the instrument. It does add a relatively small amount of weight to the instrument, but at a location that helps counterbalance the weight of the neck when the guitar is held in playing position.

An access panel is included with all my instruments. There is no additional charge for the feature.

Adjustable neck rod

Beginning with guitar #228 I now incorporate an adjustable rod into the neck design, in addition to the graphite rods that I have used for many years. While not necessary from the standpoint of neck stability, the rod permits subtle adjustments in the relief of the fingerboard in order to maximize playability. Adjustment is made with a hexagonal wrench working either through the soundhole or through the removable access panel. Once set, further adjustments are unlikely to be needed unless there is a radical change in the type of strings used or in the environment in which the guitar is kept. Initial adjustments are made before the instrument leaves my shop.

Elevated fingerboard

An elevated fingerboard is a standard feature on all my instruments. The primary advantage is improved left hand playability on the upper frets, although the increased distance between the strings and the top is also advantageous for the right hand.

At the neck/body joint the distance from the surface of the fingerboard to the top is one centimeter, a comparatively moderate distance, but one that players tell me is adequate and very comfortable. I have created the elevation of the fingerboard by giving the neck a positive angle in relation to the guitar body, rather than by changing the configuration of the upper bout, as a few other builders have done. Thus, the elevated fingerboard is visually unobtrusive, and the instrument retains its traditional appearance.

High frets

A few customers (former rock and roll guitarists, for the most part) have asked for higher than usual frets, and I now offer that feature to all my customers. For those who can adapt to the change, high frets facilitate vibrato and barreing, and generally aid in the development of a “lighter” left hand.

So what is “high”? On my instruments standard frets are approximately .8 to .9 mm high, and I consider a crown height of 1 mm or more to be “up there”. The crown height on my personal instrument is 1.1 mm, and I find it a dream to play.

This is a complicated subject, involving many factors, including neck shape and thickness, hand size, playing technique, and habit. I welcome correspondence from players about their experiences.

Oiled neck

An oiled neck, compared to one with a shellac or varnish finish, has noticeably less friction, an attractive feature for speed freaks with sticky thumbs. For those who are interested, I offer an oiled neck at no additional cost.

An oil finish is not as durable as either shellac or varnish, particularly in a high wear area such as the neck. Fortunately, an oiled neck can be refinished easily by the player, preferably as part of an annual maintenance program.

In terms of durability, varnish still makes the best neck finish, followed by shellac, with oil third. I find there is no noticeable difference in friction between varnish and shellac.

Ivory nut and saddle

I recently tried fossilized mammoth ivory for the nut and saddle on my instruments, and I now offer it as a standard feature. Compared to the bleached bone that I used formerly, mammoth ivory gives a noticeably smoother, creamier sound, something I attribute to the density (and perhaps homogeneity) of the material.

Currently I purchase ivory from a supplier in Indiana, who travels to Siberia to purchase tusks found in the permafrost. Apparently the tusks are 10,000 years old or more. Mammoth tusks are also found in similar locations in the Yukon. Unlike elephant ivory, mammoth ivory is readily available, and purchasing it doesn’t involve one in the black market.

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