High Frequency Response - Image Courtesy Of Low Frequency Response - Image Courtesy Of The motion of the top and back plates to some extent."Īnd here is a diagram from their website showing how the air inside a guitar works to produce sound: Together they give a strong resonanceĪt about an octave above the main air resonance. The air inside is also coupled effectively to the Lower frequency) and you will notice the loss of bass response when youĬlose up the hole. This stops the resonance (or shifts it to a Way to hear the effect of this resonance is to play the open A stringĪnd, while it is sounding, move a piece of cardboard or paper back andįorth across the sound hole.
This is called the Helmholtz Resonance and is introduced below.
In fact if you sing a note somewhereīetween F#2 and A2 (it depends on the guitar) while holding your earĬlose to the sound hole, you will hear the air in the body resonating. It can vibrate a little like the air in a bottle "The air inside the body is quite important, especially for the low range Below is an excerpt from their page entitled "How Does A Guitar Work." Note the areas in bold print. The University of New South Wales in Sydney Australia has a terrific site that explains in detail the scientific principles behind the inner-workings of the acoustic guitar. The results were quite surprising, but first some science about what the sound hole does. I restrung and tested the result at different intervals. I simply attached a drum sander bit to my Dremel and took my time, working against the perfect line formed by the rosette. However, my fingerboard already extended almost to the top-most edge of my sound hole, so this particular method wouldn't work for me (or many other acoustic players). Just cut the long nozzle section off and set the funnel into the sound hole and turn. One forum I visited had a post about using a funnel wrapped in sandpaper. It's very simple: Take off the strings, get out your Dremel tool and let the sawdust fly! Really, though, some people have really strange methods for doing this. But there is another way to re-voice an acoustic guitar, and I do own a Dremel tool. I don't have the tools or know-how to pull off an internal re-voicing. They go in and shave down the tone bars and braces where necessary in order to open up the instrument. There are many luthiers who make good money re-voicing instruments like these. This guitar is much heavier than my fathers' Martin D-16. These instruments were sold with a lifetime warranty, and as a result they were a bit "overbuilt" as far as bracing and the thickness of the outer tone woods. I could feel it, rolling around inside of there and reverberating against my chest, but reluctant to come out. But most of the sound stayed inside the guitar.
I would have put it up against any Blueridge or Recording King of the same class any day. This looked like an HD-28, and the sound was good, bordering on great. I've always wanted a Martin HD-28 (Tony Rice is my acoustic guitar hero) but I could never justify the price point.
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