Official Luthiers Forum!

A few questions if i might...

If someone wants a sound port before the guitar is built and one balances the size of the main hole, does that mean those who have done it after are making things worse with their guitar?

Everyone i've heard that has put a port in has reported that the guitar sounds better. Is that just because they are sitting close to it? Also would it mean that when you are putting one in and sizing it would someone need to be far enough away to tell if there was a decrease in the sound quality?...........................................................................................

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.