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PostPosted: Thu Nov 29, 2018 10:50 am 
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Like on this dread. Will those higher frets ever even be touched during the life of the guitar? And actually extending the FB in to the sound hole? Why so many frets on a guitar where they won't be used? Or am I missing their usefulness and everyone will be playing from the 17th to the 21st (21 frets?) on a vintage style Dred? Genuinely curious...

https://bourgeoisguitars.net/wp-content ... Mhg-15.jpg

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PostPosted: Thu Nov 29, 2018 10:58 am 
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I play a song where I get up to the A on 17 on a steel string. That's as high as I go. I like to take my fretboards to the soundhole, which usually means 20 frets, just so the guitar looks right. I have seen players doing stuff on the upper frets with techniques that use harmonics.

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PostPosted: Thu Nov 29, 2018 11:18 am 
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Does a longer FB effect the sound by dampening that area above the sound hole? Impossible to measure of course but I've read more interesting theories on sound effects from so many factors. Again, just curious...

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PostPosted: Thu Nov 29, 2018 11:21 am 
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I don't know about you, but mine go to the soundhole to cover the joint in the rosette :) laughing6-hehe

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PostPosted: Thu Nov 29, 2018 11:49 am 
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The larger soundhole makes my fretboard look longer.

I believe that guitar was, at least in part, inspired by Clarence White's Martin #58957. The larger sound hole makes the fretboard look longer usual. On a standard style Martin, they are just long enough to cover the rosette seam.
https://www.fretboardjournal.com/featur ... rtin-d-28/


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PostPosted: Thu Nov 29, 2018 11:56 am 
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Yeah, 21 does seem excessive on that one. I usually do 19 or 20. Any more than that and the comfortable plucking area starts to feel cramped. Any less and I start to get range anxiety :) Although it's certainly fine if the 19th is a partial fret, and 18 really wouldn't be so bad since the 19th fret notes can still be played as harmonics.

I've seen a few guitars before that would bug the heck out of me, with something like 15 frets but a full length board, so there's a bunch of bare space at the end. I think it's supposed to look stylish or something, but I'd rather have the board shortened as well to open up more comfortable plucking space for tonal variety.


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PostPosted: Thu Nov 29, 2018 12:19 pm 
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Bryan Bear wrote:
I don't know about you, but mine go to the soundhole to cover the joint in the rosette :) laughing6-hehe


Forgot about that, but I think it looks goofy having the Fb extend in to the sound hole.

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PostPosted: Thu Nov 29, 2018 12:41 pm 
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Ya got me...

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These users thanked the author Haans for the post: DannyV (Tue Dec 04, 2018 8:31 am)
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PostPosted: Thu Nov 29, 2018 4:47 pm 
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That's a good looking guitar but I've always hated FB's that go over the sound hole. It's obviously a personal opinion and taste but one could argue too that it effectively reduces the size of the sound hole. And of course that could be designed in too. It's just an aesthetic I don't like. A cutout would obviously make that more easy to play but classical guitarists still shun cutouts and play up there regularly.

I've heard some people argue that removing the frets and thinning the FB in that area improves tone. I've always wanted to try that.


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PostPosted: Thu Nov 29, 2018 5:58 pm 
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I have big hands. I really hate fretboards that go over the sound hole.

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PostPosted: Thu Nov 29, 2018 6:59 pm 
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jfmckenna wrote:
That's a good looking guitar but I've always hated FB's that go over the sound hole. It's obviously a personal opinion and taste but one could argue too that it effectively reduces the size of the sound hole. And of course that could be designed in too. It's just an aesthetic I don't like. A cutout would obviously make that more easy to play but classical guitarists still shun cutouts and play up there regularly.

I've heard some people argue that removing the frets and thinning the FB in that area improves tone. I've always wanted to try that.


..and of course cantilevered fret boards for 'the tone' of course.

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PostPosted: Thu Nov 29, 2018 9:27 pm 
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And that's a mandolin, not a guitar...

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These users thanked the author phavriluk for the post: Haans (Sat Dec 01, 2018 8:23 am)
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PostPosted: Fri Nov 30, 2018 1:33 pm 
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When you look at the trouble Tony Rice took to get that old beat up Martin that formerly belonged to Clarence White you can understand why people would want a copy of it, and a boutique maker would accommodate them. Mr. Rice's fond memories meeting Mr. White and playing his guitar I'm sure figured into his desire to acquire it. It will probably eventually go to some collector who's only connection to it is money. Oh Well! - it's only a guitar.


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PostPosted: Fri Nov 30, 2018 11:01 pm 
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I like the line created by extending it to 21 frets. If you look at it the pick guard makes a french curl-like curve straight to the 21st fret. I dig it.


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PostPosted: Mon Dec 03, 2018 6:54 pm 
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I’d like to see someone take that fret space of the last 4-5 frets and do a nice matching inlay:)


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PostPosted: Wed Dec 05, 2018 6:40 pm 
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Why so long? To SHRED!!! In any case, those are all wimpy little finger boards. THIS is a long fingerboard:

Image


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These users thanked the author rlrhett for the post: Durero (Sun Dec 09, 2018 1:32 am)
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