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Laurent Brondel
PostPosted: Thu Feb 25, 2010 11:05 am 
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Here are pics of the bracing from a B-4 (12 fret 0 alike) I built last year. It's a Carpathian top, I do not recall the exact thickness, probably around .105". Red spruce braces, 4" soundhole. The apex of the X is located 10 1/8" from the 12th fret (top of body) and the angle is exactly 90ยบ. I definitely think one tone bar is more than enough on most 12 fret designs. Not sure how close to the Martin design it is, probably not very far.


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bluescreek
PostPosted: Thu Feb 25, 2010 12:28 pm 
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if you want a true Martin style you will have only 1 tone bar and only 1 finger brace on both the 12 and 14 fret. Also there is no need to forward the braces on the martin plot as that is where the forward shift would be. The only bracing that was moved back was the Dred , the other patterns of the day were not touched . Moving the bracing more forward is okay but it isn't true to the martin.

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TonyKarol
PostPosted: Thu Feb 25, 2010 12:37 pm 
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not sure exactly where i got this, but most likely on this forum somewhere ... 0-18, 1937


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gozierdt
PostPosted: Thu Feb 25, 2010 2:29 pm 
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I found pictures of several 0 size Martin's bracing over on the UMGF Bracing Library a couple of years ago. I just did a couple of searches over there, but couldn't find them again. I know I have
them on my computer at home, along with CAD dxf files I generated from them. I'm returning from a trip tonight, I can send them to you tomorrow if you like. PM me if you want them.

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Brad Goodman
PostPosted: Thu Feb 25, 2010 2:33 pm 
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Filippo,

Mine is basically identical to the one Tony showed.

You are welcome to a copy of the plan.
Brad
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bluescreek
PostPosted: Thu Feb 25, 2010 4:13 pm 
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only one finger and tone bar THe lower ones are omitted

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bob_connor
PostPosted: Fri Feb 26, 2010 6:50 am 
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Filippo

I build the 14 fret and I move the X as far forward as I can whilst still having the lower arms sit beneath the bridge wings.

I feel that you can do this on the 14 fretter because the shorter length of the body will dictate a greater stiffness along the grain regardless of the properties of the wood.

The 0-16NY that you are building will be around 1.5" longer so it would be probably wise to stick to a more traditional (ie Martin) X brace position.

Having said that you could always forward shift it as much as you can and if it fails you've learned something.

It's not that difficult to replace a top -- really. :D

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letseatpaste
PostPosted: Fri Feb 26, 2010 8:07 am 
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Todd Stock wrote:
Is it just me, or are there others out there a little reluctant to stick the 'parlor' moniker on anything that's smaller than a dread? Keep in mind that the 0 was the largest of the Martin bodies for a good long time, and was seen as providing the volume necessary for larger venues. Parlors - at least the room - were relatively small space which would not have required much in the way of size to get acceptable volume levels.

In recent years, folks have begun to refer to 000's as 'small bodies', while manufacturers and the sales force at GC seem to have applied the term to pretty much any smaller instrument.

Not really rationale - I know - but I reserve the parlor label for guitars smaller than the 0 bodies.


I tend to refer to an 0 size as a parlor, but definitely nothing bigger than that. I know that's technically not right, but it seems like it's about the smallest standard tuning guitar that's commonly available today. If it's a Martin I would definitely refer to it as an 0 if that's what it is.

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djmrozinski
PostPosted: Fri Feb 26, 2010 1:23 pm 
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Don't see soundhole reinforcement Is that a normal for a parlor size guitar?


Thanks
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Hank Mauel
PostPosted: Fri Feb 26, 2010 10:09 pm 
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I don't have any photos of my Shasta Parlor innards, but they are very similar to the Tony Karol photo. I don't use the popsicle brace under the fingerboard extension since I have my "tongue" support in that area. My X brace intersection is 1 1/8" down from the soundhole rim and I do not tuck the tone bar or wing brace ends into the lining.

Now we'll open the bookmaking side of the forum.
What are the odds that your son's guitar will upstage yours? idunno

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DannyV
PostPosted: Sat Feb 27, 2010 11:07 am 
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Fillippo, it's great to see more parlours happening. I did mine using Scott Antes plans. It's a great looking shape and very versatile. It's become my go to guitar. This is almost from the plan.
Attachment:
php9uuf6yAM.jpg

A ya, hear in the northern latitudes we favour the tone bar going opposite to the way to most. [headinwall] . I'll probably try it the other way next time.

I hope to do others with with some different wood combinations. This one is Sitka/maple. It has a whole lot of punch.

Keep us posted.

Enjoy The Day,
Danny


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Howard Klepper
PostPosted: Sat Feb 27, 2010 12:42 pm 
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To my traditionalist view, "parlor" implies not only smaller than 0, but also a shape with a gentle bend at the waist. 12-fret neck, of course. This is Dana Bourgeois's.

Image

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Hank Mauel
PostPosted: Sun Feb 28, 2010 12:42 am 
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Filippo Morelli wrote:
If it's a competition, I'll ditch the red spruce top on mine and go with redwood. Not very traditional sounding, but it will smooth out the highs and bring in the bass.

Filippo


Absolutely! You'll love redwood. Most of my Shasta models have gone out with redwood tops, but usually on black walnut bodies.
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