Official Luthiers Forum!

So I've been poking around a bit and I think I already know the answer to my inquiry. I figured I would open a discussion about it anyway.

I'm a graphic designer by heart and I was looking forward to incorporating cool designs into the guitars that I build. I am super excited to pay close attention to the headstock and fingerboard inlays, but I don't know if I can stop there. Some part of me sees the soundboard as a huge canvas to put cool things on.

I know a lot of your are chuckling at me and shaking your head. I figured inlaying another wood onto the soundboard would change the tone of the guitar, but I dont know for better or for worse. I was hoping to get some insight from you guys.

I totally understand that the guitar itself is an artistic creation and that most of you probably find the idea of me ruining a beautiful soundboard completely repugnant. But I'm just wanting to try something different, so don't hate me too much.

Thanks for being patient with my rambling and noobness.

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-Marcus
http://www.bailieguitars.com
Instagram | YouTube

Go as crazy as you want on the headstocks, fingerboards, tuning pegs, back of the neck, back of the body and sides, rosette, and pick guard.


As for the top- best leaving it at the least amount, or if it's being CNC'd, make it super thin, like Asian inlays, around .02 or less, so it effects the integrity of the top as little as possible, and maybe stick to using just woods as well.

Honestly, best to leave the soundboard alone.

Good luck,
Craig Lavin

www.handcraftinlay.com

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www.handcraftinlay.com

I kinda like things plain, but my main concern with soundboard inlays would be the weight. I'd say go crazy if you want, but try not to add much or any weight to the soundboard.

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I didn't mean to say it, but I meant what I said.
http://www.brackettinstruments.com/

I don't have the expertise that others have here, but I have seen some people inlay tops before. One thing I noted was that they all stuck to the upper bout with any soundboard inlay - much less sound being generated there.

I would think you'd be relatively safe (in terms of messing with the guitar's acoustic potential) if you can restrict yourself to the upper bout area, above the upper transverse bar. It makes sense (if you've ever seen the Chladni testing / glitter that shows the active parts of the top) to be cautious about messing with the major "anti-nodes" where the maximum top vibration is going on.

On the other hand, I have heard some guitars over the past couple of years that were real eye-openers for me, where people "break the rules" and end up with a very nice sounding guitar, so maybe you should just go for it and see what you end up with. Wasn't radial keratotomy discovered by accident? Heck, maybe you'll end up releasing more of the potential of the guitar's real estate, or alter the overall timbre in a pleasing way. I still would think that great big chunks of turquoise set in epoxy in the lower bouts have a good chance of making the guitar go *thud*, and so I think Craig is offering good advice to keep the inlays thin, especially in the most sonically active areas of the top (if you just have to go there to scratch that itch aesthetically.)

Dennis

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Dennis Leahy
Duluth, MN, USA
7th Sense Multimedia

You can find some pretty wild examples of top inlays in old historical instruments, and some not so old, like early american guitars, so there is a precedent for it. Michihiro Matsuda also does some cool things with inlays encroaching into the top, among others.

My shop has done a few with fake tattoo's that turned out nicely viewtopic.php?f=10101&t=20864&hilit=tattoo for an approach that does not do much to the structure of the top.

Have fun with it!

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Jordan Aceto
Ithaca, NY

It would be cool on an electric.

On an acoustic, it would be a shame to invest boatloads of time on an elaborate soundboard inlay only to discover that it ruins the sound.

Somogyi has some very pretty chip carvings in the upper bouts of his guitars, backed by thinned ebony. You can find images on his website.

Marcus, I think you will find there are two camps on the upper bout. Some think that it is important tonally and design to allow it to contribute. Some think it is not and design with that in mind. If you're in the second camp there is certainly room to experiment with inlay north of the soundhole.

I think you will get universal agreement that you don't want to touch the top elsewhere unless you're more interested in a piece of art than an instrument.

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David White, Toronto

"All my favourite singers can't sing."

why not use paint or ink or other medium that would allow the top to move more freely? you won't get the same look, sure, but you can get close to it, and it won't hurt the top as much (if at all....)

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Olivier Gauthier
Montreal, QC

If you're thinking of paint have a look at this guy's stuff. It is quite amazing I think.

http://www.creestudios.com/

Neil

You can also get it laser engraved, that won't effect much (though you'll have to be really tasteful to make it look good, it seems that cheap laser engravers, and cheesy engraving, are everywhere now)

I agree with Craig that the 'thinlay' would probably be fine, but I find it doesn't look right with pearl. With abalone, you can't really tell how deep the piece is or isn't.

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Bob Garrish
Former Canonized Purveyor of Fine CNC Luthier Services

Thanks for the tips, guys. You've given me some ideas on what to do and what not to do. I think ill stick to above the sound hole for inlaying and if i want to go below the soundhole ill use paint or a subtle stain (though im not sure that would run or not)

Thanks again

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-Marcus
http://www.bailieguitars.com
Instagram | YouTube

Marcus,

Here are a couple of photos of what is being done in the ukulele world. The Creature from the Black Lagoon ukulele is painted. I almost bought this one because my wife liked it so much. Second page to follow..sorry couldn't fit them on one post.

Enjoy

Philip

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aka konacat

If you think my playing is bad you should hear me sing!
Practice breeds confidence and confidence breeds competence. Unfortunately, I'm stuck in practice.

Marcus,

I'm not sure why a soundboard inlay wouldn't work if it was wood. Here is a couple more photos.





Philip

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aka konacat

If you think my playing is bad you should hear me sing!
Practice breeds confidence and confidence breeds competence. Unfortunately, I'm stuck in practice.

Marcus,

No edit button and my photos arn't working so here are links. Thanks Curtis

http://curtistakano.dyndns.org/users/curtis/Images/UGH/Pages/Image12.html
http://curtistakano.dyndns.org/users/curtis/Images/UGH/Pages/Image22.html
http://curtistakano.dyndns.org/users/curtis/Images/UGH/Pages/Image41.html

Philip

_________________
aka konacat

If you think my playing is bad you should hear me sing!
Practice breeds confidence and confidence breeds competence. Unfortunately, I'm stuck in practice.