Latest guitar (Solariego #13)

Alex said:
What seems to me the most difficult thing is to get the whole intonation of the guitar right, the fret distances, string height, neck curvature and placement of the bridge, everything has to be just right to get the right tuning.

It's actually not even that stressful with a good jig (I made a custom one) for bridge positioning and then you intonate the saddle for each string by peaking it at the right location.

You can buy one from StewMac: Saddlemattic

I do wonder about your placement of the sound hole, especailly if you have professional aspirations as a builder, I doubt it will become a popular sight, for eastethic reasons, but I also doubt the sound waves exit at the place where they reach maximum vibration and thus the best sound.

They are most popular among the high end builders who know what they're doing. You seem to be under the impression that "traditional" sound hole placement was based on science (or a knowledge of physics)..... ;)

Here is a $17,000 McPherson: McPherson

And a RainSong: Rainsong

A $10,000 Ribbecke: Ribbecke

A lower end factory: Michael Eklly MKTPE

A Martin Keith: Auriole

An interesting one by Doolin, but he had to put an access panel in the bottom due to small size: Doolin

And of course, the 2016 "guitar of the year": Guitar of the year

So no, sound hole placement is NOT the problem when trying to sell high end custom guitars.

A couple good discussions:
http://www.thecavanproject.com/offset-soundhole-guitars/
http://www.anzlf.com/viewtopic.php?t=585

Personally, I've not noticed a big change in sound between my centered and off-centered guitars. Too many other factors are more important, including soundboard voicing. And my guitars are quite loud.
 
Cheese said:
fritter63 said:

An interesting couple of discussions. However, as the first article states "that most of the sound comes through the top, not the soundhole" , then why even bother with a sound hole?  It'd certainly make the manufacturing process a lot easier.
 

Interesting discussions, indeed.  I'm neither a guitarist nor a luthier, but I've often wondered about sound hole placement.  The offsets look too bizarre to me, despite great sound.  Must admit that I'm aesthetically attracted to John Monteleone's more balanced designs, and note that he seems to use sound holes placed on the upper sides, as well.  They sound wonderful in the right hands. 
 
Sparktrician said:
Cheese said:
fritter63 said:

An interesting couple of discussions. However, as the first article states "that most of the sound comes through the top, not the soundhole" , then why even bother with a sound hole?  It'd certainly make the manufacturing process a lot easier.
 

Interesting discussions, indeed.  I'm neither a guitarist nor a luthier, but I've often wondered about sound hole placement.  The offsets look too bizarre to me, despite great sound.  Must admit that I'm aesthetically attracted to John Monteleone's more balanced designs, and note that he seems to use sound holes placed on the upper sides, as well.  They sound wonderful in the right hands.

Those "arch top" jazz guitars.... hollow bodied. More like a big violin in construction (the top is carved out of a thicker piece like a violin, not a braced thin piece). And they are played with a pickup/amp.
 
Cheese said:
, then why even bother with a sound hole?  It'd certainly make the manufacturing process a lot easier.

You have to have some way to get the pick out after you drop it! :)
 
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