It's interesting that nobody has asked you what sort of sound you're after.

I agree with the other comments. It looks a little heavy in places.

X/fan hybrid bracing like that tends to lean towards a bright sounding instrument. I've tried it a few times (on various guitar-like instruments). POC - from sound samples I've listened to - also seems to have this tendency. Just something to be aware of. You may want to consider a heavier bridge wood than walnut to balance this.

IMHO, those fans are probably going to telegraph. They seem pretty wide and low, but even so, in my experience, fan braces on steel stringed instruments will always telegraph eventually.

Also, I don't agree with the butt joints between the soundhole braces and the X arms. The string tension is trying to cave in the soundboard in this area, and those butt joints could be pulled apart. Consider scalloping the ends.

Being after a sound and producing it are two very different universes at this stage in my building experience but in the simplest terms I hope to build a smaller guitar that does things a small guitar would not be expected to do. Larger sound with more bass than expected, and balanced, bright trebles. Not asking too much eh?

Well, on a small guitar, the difficulty is in getting the bass up to match the trebles. So I'd be suggesting that you match the treble side bracing to the bass side to loose some of the stiffness you have there.

If you think the bass side will survive as is, the treble side should, too. Going asymmetric, unless you really know what you're doing, usually just ends up with a quieter guitar, as mostly it is extra stiffness that is added. Also, to help get the bass up, go with a live back and don't stiffen the sides too much. I'd be going with the walnut bridge. If you end up thinking it's too light you can always add mass by using heavier bridge pins. It's much harder to move in the opposite direction if you start heavy and want to go lighter. Final point, consider an arm rest. Not one of those bevel things, but a proper arm rest that will keep your forearm off the top. Makes a huge difference on small, responsive guitars. (Well, it does on mine!)

Let me see if I understand this a little better after reading more on the subject. The suggestion to match the treble scallop with the bass X brace was not to change the 'treble' side but more to loosen the entire top and create more bass as, I have earned, there is really no bass or treble side to a guitar.

Just about to close it up and wanted some feedback on the bracing as built so far. The guitar is smaller 13.5 LB 9.5" UB and I obviously can't have any larger braces at this point but want to know if I should go any smaller than what's shown. X is approx. 1/4" x .56" at the X.

The asymmetry is intentional but follows no real experiential data, just something I'm experimenting with. Bridge plate is BRW and the bridge will be walnut.

Thank you

i'm no expert and in general avoid showing my work on forums but imo the bracing is a bit stout. i think the asymmetry will confuse the rolling motion of the bridge by adding an elliptical component to the top motion. sort of like hitting one wave going towards the beach with one coming at it from the side.

what sound are you after? and how does the plate tap?

here's what i'm doing on a size 2 flat top:

the kerfing on both the top and the back is actually one piece reverse kerfing that i broke through at each piece with a razor saw thereby making them "falsoellones". this should liberate some top freedom. the bracing is actually smaller then it looks. (.25 x .5 or so) and not visible under the clamping blocks is the heel block extension butted against the utg. top is .09 thick cedar and the b/s's are primavera.

One thing I didn't notice at first as I viewed on my iPhone was that the x-brace that runs from left to right (upper bout to lower bout) has LOTS of run out....Don't know if this concerns you at all....

I find if I want more bass response in a small guitar, I want to ensure the top is more flexible at the edges so I'd want very minimal bracing out at the edges, hence tapering the braces down to nothing from the intersection of the X (going south on the braces, not north).

"And to answer your question about the plate's tap I really couldn't say and I don't mean to be flippant but I wouldn't know one tap from another or a good tap from a bad one. I'm reducing some of the bracing and closin' her up and will have to see what happy surprises occur if any.

"On a side note, I just discovered Prima Vera at a local wood supplier and it seemed like a great wood for guitar B/S. Have you used it before with good results?